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TREASURES FROM MEDIEVAL FRANCE

TREASURES FROM
MEDIEVAL FRANCE

BY WILLIAM D. WIXOM

PUBLISHED BY THE CLEVELAND MUSEUM OF ART

University Circle, Cleveland, Ohio 44106

Library of Congress Catalogue Card Number 66-21229

Printed in the United States of America

Distributed by the Press of Western Reserve University, Cleveland, Ohio 44106

TRUSTEES OF THE CLEVELAND MUSEUM OF ART

George P. Bickford
James H. Dempsey, Jr.

Robert I. Gale, Jr.

Edgar A. Hahn

Mrs. David S. Ingalls

James D. Ireland

Severance A. Millikin

Mrs. R. Henry Norweb, President

A. Dean Perry

Ralph S. Schmitt

James N. Sherwin

John S. Wilbur

Charles B. Bolton, Emeritus

COMMITTEE OF HONOR

Andre Malraux

Ministre, Affaires Culturelles, Ministere d’Etat

Christian Fouchet
Ministre de FEducation

Jacques Jaujard

Secretaire General des Affaires Culturelles, Ministere d’Etat
Philippe Erlanger

Directeur d’Association Franchise d’Action Artistique
Gaetan Picon

Directeur General des Arts et de Lettres

Etienne Dennery

Directeur des Bibliotheques de France

Administrates General de la Bibliotheque Nationale

Julien Cain

Membre de Flnstitut

Directeur, Musee Jacquemart-Andre

Jean Chatelain

Directeur des Musees de France

Max Querrien
Directeur de l’Architecture

Mrs. R. Henry Norweb

President of The Cleveland Museum of Art

COMMITTEE OF ORGANIZATION

Robert Boyer

Adjoint au Secretaire General des Affaires Culturelles
Jacques Dupont

Inspecteur General des Monuments historiques
Hubert Landais

Conservateur en Chef au Departement des Objets d’Art du Musee du Louvre
Sherman E. Lee

Director of The Cleveland Museum of Art
Edouard Morot-Sir

Conseiller Culturel, Ambassade de France, New York
Pierre Pradel

Conservateur en Chef du Departement des Sculptures du Musee du Louvre
Pierre Quoniam

Inspecteur General des Musees de Province
Remy G. Saisselin

Former Assistant Curator for Research and Publications
The Cleveland Museum of Art

Francis Salet

Conservateur, Musee des Thermes et de l’Hotel de Cluny, Paris
Pierre Verlet

Conservateur en Chef des Musees Nationaux

William D. Wixom

Associate Curator of Decorative Arts

The Cleveland Museum of Art

CONTENTS

xi Preface by Sherman E. Lee
xv Acknowledgments
xix Lenders to the Exhibition
1 Introduction

11 Chapter I Merovingian Inheritance and Carolmgian Experiment
21 Chapter II Proto-Romanesque, Assimilations, and Monumental Art
45 Chapter III Monuments of Romanesque Art and the First Gothic Vision
123 Chapter IV High Gothic Synthesis and the New Monumental Art
167 Chapter V Beginnings of Courtly Art
217 Chapter VI International Style
293 Chapter VII Late Gothic Art
347 Catalogue
387 Index

PREFACE

Like man, art reproduces itself. The inspiration for any work of art, whether a
painting or a pot, whether an assemblage or an exhibition, lies in another work of
art. As M. Malraux has it, paintings of sunsets* not sunsets, provide the initial
impetus for more advanced, or just different, paintings of sunsets. Thanks to the
generous aid and cooperation of hundreds of persons dedicated to the preserva¬
tion and study of art, a work of art destined for but ten weeks of life has been
created—Treasures from Medieval France.

The origins of this exhibition are to be found in two other assemblages of me¬
dieval art. The first was the monumental exhibition, Cathedrales, held in 1962 at
the Louvre. Conceived and arranged by Pierre Pradel, Chief Curator of Sculpture
at the Louvre, Cathedrales was an artful and logical evocation of French medi¬
eval art made possible by the sensitive selection and display of fragments, monu¬
mental and miniature, selected for their high quality and profound significance.
It was a deeply moving sequence and unity, one of the very greatest exhibitions I
have ever seen. Not to desire its preservation or re-creation would have been un¬
thinkable.

The second inspiration was the assemblage of medieval art, especially the de¬
corative arts, in our own museum. This was the creation of my predecessor Wil¬
liam M. Milliken, one of the great art museum directors, an unfailingly successful
connoisseur of objects, and particularly a dedicated medievalist. With such mag¬
nificent French objects as the Limoges Cross from the Spitzer collection (cat. no.
hi— 31), the Christ Medallion from the Guelph Treasure (cat. no. I—1), the
unique Table Fountain (cat. no. vi-18), and the School of Paris panel of the
Annunciation (cat. no. vi-14), among many others in our collection, it seemed
only fitting that these should provide the raison d'etre for an exhibition celebrat¬
ing the golden anniversary of The Cleveland Museum of Art.

The idea of an exhibition of French medieval art was thus conceived some four
years ago. The sobering prospect of the arduous labors involved in mounting
such a display was made more hopeful by the knowledge that we had numerous
friends and colleagues in France who might be favorably disposed to such a proj¬
ect because of our proven dedication to its subject and because its conception and
plan were worthy of the effort and dangers involved. The first general discussions

in Paris with the two colleagues to whom we are most indebted—Jacques
Dupont, Inspector General of Historic Monuments, and Hubert Landais, Chief
Curator of Decorative Arts, Mu see du Louvre, and Adjunct Director of the Mu¬
seums of France—were most encouraging in principle, and a tentative decision
to proceed followed from these friendly discussions. This decision was made final
after we received the gracious approval of the Ministries of Culture and Educa¬
tion. Andre Malraux, Minister of Culture, and particularly his Secretary General
for Cultural Affairs, Jacques Jaujard, have been and are helpful patrons of this
manifestation of French medieval art. Without the approval of Christian Fou-
chet, Minister of Education, the magnificent loan of manuscripts from the Bib-
lio theque Nationale and some other libraries would hardly have been possible.
The late James J. Roomer, Director of the Metropolitan Museum of Art, whose
lasting achievement is that unique medieval monument and collection, the
Cloisters, encouraged us from this side of the Atlantic and with his unstinted co¬
operation insured that the American representation would be qualitatively equal
to that provided by France,

The results are now visible in the exhibition and reflected in the catalogue.
What cannot be visible, save in the imagination of the visitor and in the memories
of all who participated in this exhibition, the largest and most complicated ever
to be undertaken by this museum, is the succeeding three years of constant travel,
negotiation, correspondence, and study, trying the patience and energies of all
concerned. Thanks to all is hardly enough, but here it is proffered, humbly, in
friendship, and with a renewed understanding of what the phrase 1H a community
of scholars’' really means.

A specific mention of all those who contributed so much to the exhibition will
be found in the appended lists following this preface. Particular expressions of
gratitude are due to those in France who were deeply involved in the project:
Jean Chatelain, Ftienne Deanery, Pierre Pradel, Pierre Quoniam, Francis Salet,
Pierre Verlet, Marcel Thomas, Marie-Madeleine S. Gauthier, R. Maitre-Devallon,
and Bertrand Jestaz* We are also most grateful to Raymond Laniepce for his
many excellent photographs of French-owned objects.

In America we owe special thanks to Frederick B. Adams Jr., Richard H.
Randall, John Walker, Remy G. Saisselin, and Dorothy E* Miner. Almost all of
the personnel of The Cleveland Museum of Art have been, are, or will be in¬
volved in the various aspects of the exhibition-—mechanical, educational, and
curatorial. Those named in the following lists have been particularly helpful, but
special mention should be made of, and additional thanks given to Merald E.
Wrolstad, William F. Ward, Lillian M. Kern, Richard F. Godfrey, Judith Con¬
rad, and Frances Saha,
xii

I cannot close this preface without noting a very particular administrative
aspect of Treasures from Medieval France. The exhibition is the result of the
close and friendly cooperation between a private educational institution, The
Cleveland Museum of Art, and a great nation, France. Surely this confirms the
continued vitality of the concepts of diversity and individuality in a modern age
often described as monolithic and inhuman. Responsibility for scholarly and ar¬
tistic excellence rests with all—from individuals, through boards, foundations,
governmental units, to the state. The Museum’s Board of Trustees has supported
and encouraged the staff in this monumental undertaking, and thanks are due and
are gratefully given. Another large debt of gratitude is due to the Trustees of The
John L. Huntington Art and Polytechnic Trust, who have provided the not-
inconsiderable funds necessary for the exhibition and its catalogue. Finally, I
wish to thank and congratulate William Wixom, the responsible curator, for the
splendid scholarly and artistic achievement to be seen in the exhibition and to be
remembered through this catalogue.

Sherman E. Lee, Director

ACKNOWLEDGMENTS

FRANCE

Mile. Adeline Cacan, Conservateur du Petit-Palais, Paris
M. Philippe Chapa, Conservation des Musees de Tours
M. A. Coumet, Sous-Directeur des Monuments historiques et des Sites, Paris
M. Jean Coural, Administrateur general du Mobilier National
et des Manufactures Nationales des Gobelins et de Beauvais
M. Bertrand Jestaz, Musee du Louvre

M. Michel Laclotte, Conservateur du Departement des Peintures,

Musee National du Louvre, Paris
M. Lamy, Architecte des Batiments de France, Paris
M. Raymond Laniepce, Photochromiste, Paris

Mile. R. Maitre-Devallon, Documentaliste au bureau des objets mobiliers, Paris
M. Cl. Prevost, Documentation Generate et Objets Mobiliers, Paris
M. Jacques Renault, Conservateur en chef, Bibliotheque Mazarine, Paris
M. Jean-Pierre Samoyault, Assistant au Musee du Louvre, Paris
M. Maurice Serullaz, Cabinet des Dessins, Musee National du Louvre, Paris
Mile. Genevieve F. Souchal, Musee National des Thermes
et de FHotel de Cluny, Paris

M. Jean Taralon, Conservateur du depot des Monuments historiques
du chateau de Champs, Paris

M. Marcel Thomas, Conservateur en Chef, Bibliotheque Nationale, Paris
M. M. Mariotte, Conservateur des Antiquites et objets d’art,

Archives Departementales, Annecy

M. Henry de Morant, Conservateur, Musee archeologique Saint-Jean, Angers

Abbe Henri Rougerie, Archipretre, Bellac

M. Andre Cluzeau, Maire de la Ville de Bellac

M. Jean Faviere, Conservateur, Musee du Berry, Bourges

Mgr. Le Guenne, Archipretre de la Cathedrale de Bourges

M. Michel Bouvy, Conservateur, Musee de Cambrai

Mme. Germaine Chachuat, Conservateur de Musee Ochier, Cluny

M. Pierre Quarre, Conservateur de Musee des Beaux-Arts, Dijon

M. de Bussac, Conservateur des antiquites et objets d'art,

Sa ilit-Remy - d e- C h arg n a t, G ran d r i £

M. le Cure, J, Dailloux, Eglise, Grand rif
M. Hemmer, Conservateur du Mu see de Gueret,

Direction des Archives Departementales de la Creuse, Gueret
Mme. Marie-Madeieine S. Gauthier, Corpus des emaux meridionaux,
Bibliotheque municipale, Limoges
M, J. Decanter, Conservateur des antiquites et objets d'art
de la Haute-Vienne, Limoges
L' A b be A nd re Sooty, Cu re - A rch i pret re, Louvie rs

Abbe Antoine Michalon, Conservateur du Tresor de la Cathedrale de Lyon
M. Andre End res, Conservateur, Musee Bossuet, Meaux
M- le Chanoine Sarraute, Cathedrale, Narbonne

M. Mathieu Meras, Directeur des services d h archives de Tarn-et-Garonne,
Conservateur des antiquites et objets dart, Montauban
M. C. Viguier, Conservateur, Musees de Narbonne
Mile. Olga Fradissc, Conservateur des Musees d Orleans
M. J. M. Moulin, Conservateur, Musee de Poitiers
M. Andre, Architecte des Batiments de France, Reims
M, Burkhart, Conservateur des Antiquites et objets d’art,

Archives Departementales, Rouen
Mile. Elisabeth Chirol, Conservateur, Musee des Antiquites
de la Seine-Maritime, Rouen

Mile. Franchise Amanieux, Conservateur, Musee archeologique
(dit Musee du Haubergier), Senlis
M. A. Morel, Cure-archipretre, Paroisse de la cathedrale, Soissons
M. Victor Beyer, Conservateur, Musee de la Ville de Strasbourg
M. Denis Milliau, Conservateur de la Musees de Toulouse
L'Abbe Charles-j, Ledit, Conservateur du Tresor de la Cathedrale
de Saint Pierre et Saint Paul, Troyes
M. G. Quincy, Directeur des Services, Archives de la Correze, Tulle
M. Emile Mesle, Conservateur des Musees de Meuse, Bar-le-Duc
The French Line

XVI

AMERICA AND ENGLAND

Mr. Frederick Adams, Director, The Pierpont Morgan Library

Mr. Jacob Bean, Curator of Drawings, The Metropolitan Museum of Art

Dr, William H. Bond, Librarian, Library of Harvard University

Mr. Charles E. Buckley, Director, City Art Museum of St. Louis

Mr. Anthony M, Clark, Director, The Minneapolis Institute of Arts

Dr, Kenneth J. Conan t, Professor Emeritus, Harvard University

Mr. John Coolidge, Director, Fogg Art Museum, Harvard University

Mr, Perry B, Cott, Chief Curator, National Gallery of Art

Mr. Charles C. Cunningham, Director, The Art Institute of Chicago

Mr. David DuBon, Associate Curator of Decorative Arts,

Philadelphia Museum of Art
Mr. William H. Forsyth, Research, and the Cloisters,

The Metropolitan Museum of Art
Dr. Richard E. Fuller, Director, Seattle Art Museum

Dr + Eleanor S. Greenhill, Assistant Professor of Art, The University of Chicago
Dr. Karl Kop, Curator of the Spencer Collection, The New York Public Library
Mr. Henri Marceau, Curator, John G, Johnson Collection,

Philadelphia Museum of Art

Mr, John Maxon, Associate Director, Art Institute of Chicago
Mr. Thomas P. Miller, Executive Assistant in Charge at the Cloisters,

The Metropolitan Museum of Art
Miss Dorothy E. Miner, Librarian and Keeper of Manuscripts,

The Walters Art Gallery

Miss Agnes Mongan, Associate Director and Curator of Drawings,

Eogg Art Museum, Harvard University
Dr. Charles Oman, Retired Keeper of Metalwork,

The Victoria and Albert Museum

Mr. John H. Plummer, Curator of Medieval and Renaissance Manuscripts,

The Pierpont Morgan Library
Mr. Richard H. Randall, Director, The Walters Art Gallery
Mr. Perry T. Rathbone, Director, Museum of Fine Arts, Boston
Mr. Daniel Robbins, Director, Museum of Art, Rhode Island School of Design
Miss Henrietta Schumm, Transportation Consultant, New York
Mr, Lawrence Sickman, Director, Nelson Gallery—Atkins Museum
Miss Felice Stampfle, Curator of Prints and Drawings, The Pierpont Morgan Library
Dr. Hanns Swarzenski, Curator of Decorative Arts, Museum of Fine Arts, Boston
Miss Gertrude Townsend, Boston

xvn

Dr. Evan H. Turner, Director, The Philadelphia Museum of Art
Mr. John Walker, Director, National Gallery of Art

Mr. Allen Ward well, Acting Curator of Decorative Arts, Art Institute of Chicago
Mr. Otto Wittmann, Director, The Toledo Museum of Art
Mr. Willis F. Woods, Director, The Detroit Institute of Arts

THE CLEVELAND MUSEUM OF ART

Judith Conrad, Assistant, Department of Decorative Arts

Louise Schroeder, Secretary to the Director

Frances Saha, Secretary, Department of Decorative Arts

Merald E. Wrolstad, Editor of Publications

Rosalie Ault, Assistant, Publications Department

William E. Ward, Designer

Dolores Filak, Secretary, Education Department

Lillian M. Kern, Registrar

Richard F. Godfrey, Photographer

Joseph G. Alvarez and Frederick L. Hollendonner, Conservators
Janet Grasso, Secretary, Department of Egyptian and Classical Art
Student assistants: Thomas Bruhn, Judson Emerick, Anne NiCastro,
Liane Schneeman

Library assistants: Elizabeth Halbe, Alice Loranth, Georgina Toth

LENDERS TO THE EXHIBITION

FRANCE

MUSEUMS

Angers (Maine-et-Loire), Musee Saint-Jean
Bo urges, Musee du Berry
Cambrai (Nord), Musee des Beaux-Arts
Cluny (Saone-et-Loire), Musee Ochier
Dijon (Cote-dOr), Musee des Beaux-Arts
Musee des Antiqukes de la Cote-d'Or
Gueret (Creuse), Musee archeologique
Limoges (Haute-Vienne), Musee de Limoges
Meaux (Seine et Marne), Musee Bossuet
Orleans (Loket), Musee historique
Paris, Musee du Louvre

Musee des Thermos et de THotel de Cluny

Mobilicr National et des Manufactures Nationales des Gobelins

Petit Palais

Musee Jaoquemart-Andie
Depot des Monuments historiques
Poitiers (Vienne), Musees municipaux

Rouen (Seine-Maritime), Musee des Antiquites de la Seine-Maritime

Saint-Omer (Pas-d e-Calais), Musee municipal

Senlis (Oise), Musee du Haubergier

Strasbourg (Bas-Rhin), Musee de V Oeuvre Notre Dame

Toulouse (Haute-Garonne), Musee des Augustins

Verdun (Meuse), Musee archeologique

LIBRARIES

Amiens (Somme), Bibliotheque municipale
Cambrai (Nord), Bibliotheque municipale
Dijon (Cote d’Or), Bibliotheque municipale
Paris, Bibliotheque Mazarine
Bibliotheque Nationale

CHURCHES AND CATHEDRALS

Beaune (Cote-d'Or), Hotel Dieu
Bellac (Haute-Vienne), Eglise paroissiale
Les Bilianges (Haute-Vienne), Eglise
Bouillac (Tarn-et-Garonne), Eglise

Bourges (Cher), Cathedrale de Saint Etienne, Depot de la Cathedrale

Breuilaufa (Haute-Vienne), Eglise

Coudray-Saint-Germer (Oise), Eglise

Grandrif (Puy-de-Dome), Eglise

Janville (Oise), Eglise

Louviers (Eure), Eglise de Notre-Dame

Lyon (Rhone), Cathedrale

Mantes (Seine-et-Qise), Depot lapidaire de la collegiale Notre-Dame

Narbonne (Aude), Cathedrale Saint-Just

Reims (Marne), Cathedrale Depot lapidaire

Rouen (Seine-Maritime), Cathedrale de Notre-Dame

Saint-Jean-d h AuJps (Haute-Savoie), Eglise paroissiale

Saint-Julien-Aux-Bois (Correze), Chapelle Saint-Pierre

Saint-Pavace (Sarthe), Eglise

Saint-Sulpice-les-Feuilles (Haute-Vienne), Eglise

Sens (Yonne), Depot des Monuments historiques

Soissons (Aisnc), Cathedrale

Troyes (Aube), Cathedrale de SS Pierre et Paul, Cathedral Treasury
Vezelay (Yonne), Eglise de la Madeleine

UNITED STATES AND CANADA

MUSEUMS

Baltimore, The Walters Art Gallery
Boston, Museum of Fine Arts
Cambridge, Fogg Art Museum
Chicago, The Art Institute of Chicago
Cleveland, The Cleveland Museum of Art
Detroit, The Detroit Institute of Arts
Kansas City, Nelson Gallery—Atkins Museum
Minneapolis, The Minneapolis Institute of Arts
New York, The Metropolitan Museum of Art
Philadelphia, The Philadelphia Museum of Art
John G. Johnson Collection
Princeton, Princeton University Art Museum
Providence, Museum of Art, Rhode Island School of Design
St. Louis, City Art Museum of St. Louis
Seattle, Seattle Art Museum
Toledo, Toledo Museum of Art
Washington, D.C., National Gallery of Art

LIBRARIES

Cambridge, Houghton Library, Harvard University
New York, New York Public Library, Astor, Lenox,

and Tilden Foundations, Courtesy of the Spencer Collection
Pierpont Morgan Library

PRIVATE COLLECTIONS

Cambridge, Anonymous Lender
Montreal, L. V. Randall
New York, Mr. and Mrs. Leopold Blumka
Mr. and Mrs. Germain Seligman
Wildenstein Foundation, Inc.

INTRODUCTION

Initially conceived in 1962 as part of the 1966-1967 fiftieth anniversary celebra¬
tions of The Cleveland Museum of Art, the present exhibition has fulfilled all
early hopes that it would be possible to assemble a select company of about one
hundred and fifty French art objects dating from the Merovingian era through
the end of the late Gothic period. Major loans from French museums, libraries,
churches, and cathedrals have been made possible through stringent safety meas¬
ures and because the exhibition is not a traveling one, the only showing being
restricted to Cleveland. The French loans are supplemented by a nearly equal
number of outstanding objects from collections in the United States and from
one private collection in Canada. All media are represented, including stone and
wood sculpture, metalwork, enamel, ivory, manuscript illumination, panel paint¬
ing, embroidery, and tapestry.

Several overlapping purposes were kept in mind in choosing objects from so
vast a panorama of French medieval art. Artistic quality was the primary selec¬
tive factor, together with that of the potential availability and the physical stur¬
diness of each object considered. However, it was clear from the beginning that
no claim could be made for equal artistic value of the exhibits; apples could not
be said to be equal to pears. It was also hoped that many objects would be com¬
plete masterpieces in themselves, having withstood fairly well the vicissitudes of
time, fire, water and revolution. In this group of the final selections are the
twelfth-century Chasse from Bellac (m-l), 1 the Recumbent Tomb Figure of a
Knight from Philadelphia (iv—13), a Portable Altar dated 1273 from Narbonne
(iv-25), the ivory Virgin from Sainte-Chapelle from the Louvre (v-7), the
ivory Virgin Suckling the Christ Child from Rouen (v-10), Cleveland’s own
late fourteenth-century Table Fountain (vi—18), and the drawing depicting an
ecclesiastic by Fouquet lent from the Metropolitan Museum (vii-8), as w r ell as
many other works. Also, a substantial number of the illuminated manuscripts
may be considered complete works or nearly so, as in the case of the Roman¬
esque Corbie Gospels from Amiens (n-ll), Cleveland’s Gotha Missal (vi—3),
the Hours of Jeanne d’Evreux (v—15) and the Belles Heures (vi—28), both lent

1 All Roman numerals in parentheses refer to the chapter number; the Arabic numerals are the
catalogue numbers within that chapter.

from the Metropolitan Cloisters collection, and the Boucicaut Hours (vi—29) and
Rohan Hours (vi-33), both lent from Paris. Panel paintings are taken only
from the Cleveland Museum’s own collection, and these also are remarkably
intact: the Sachs Annunciation panel of circa 1390 (vi-14), the Calvary with a
Carthusian Monk by Jean de Beaumetz (vi—12), and the late fifteenth-century
Burgundian Portrait of a Nobleman (vii-21).

Not all of the objects could be so complete, and many were considered which
were precious and evocative fragments ripped from their original surroundings.
The final choice in this category included Romanesque capitals from Poitiers,
Avignon, and Vezelay (ii —4; m-6,ll); the stone relief figures from Toulouse,
Cluny, and Autun (m-4,8,9,10); the columnar figures from Cambrai and Cha-
lons-sur-Marne (ill—23,27) ; and a series of stone heads from portal sculptures at
Saint-Denis, Saint Benigne at Dijon, Mantes, Notre-Dame at Paris, Senlis, Stras¬
bourg, and Reims (in—14,16,37,25; iv—1,3,9,11). Also included are manuscript
fragments, such as the monumental Saint Luke miniature from a late eleventh-
century Bible painted at Cluny, and an exquisite miniature by Fouquet excerpted
from the Hours of Etienne Chevalier (n—7; vn-4). Larger sculptural groups are
occasionally represented by single sculptures, all that was preserved of the larger
composition, as in a handsome painted wood Angel from Janville, once part of
an Annunciation group, and as in an expressive Fainting Virgin Group from
Louviers, once part of a larger Crucifixion group (v-6; vi-13).

From the very beginning of the selection process in preparing the exhibition it
was realized that some objects would of necessity be extremely well known from
their bibliographies, their positions in the permanent public collections of which
they are a part, and the fact that they have appeared repeatedly in earlier exhibi¬
tions. The monumental Romanesque Relief of the Sign of the Lion and the Ram
from Toulouse (in—4), the ivory Virgin from Sainte-Chapelle (v-7), or the
Cerfs Volants tapestry (vi-36) are examples. Other objects familiar in the liter¬
ature have never been lent to an exhibition before, as for example, the Chalice of
Abbot Suger from the National Gallery of Art in Washington, D.C. (in—13).
In addition to such works, space is also given to a large group of other items
which have not been widely shown and are not well known either to the public
or to the scholarly world. Included in this group are such pieces as the twelfth-
century stone Head from Limoges (in—29), the embroidered panel, possibly the
cover for a corporal case, from the treasury at Lyon (iv—19), a refined wood
Virgin and Child group of the thirteenth century from Grandrif (v—8), two rare
manuscripts from the south of France (vi-5,6) , a powerful but small gilt-bronze
Prophet of circa 1400 (vi-20), a monumental Burgundian mid-fifteenth-century
limestone Saint Christopher (vn-l), a barely known tapestry with the story of
2

Saint Eloi from Beaune (vii-16), and a refined Champagne early sixteenth-cen¬
tury silver-gilt Madonna and Child (vu—18).

However, the main emphasis of the exhibition, after the determining factor of
artistic quality, is in reality an attempt at a balanced and selective presentation of
the history of style. The chapters of this catalogue are so divided and the in¬
dividual monuments are intended secondarily to suggest major developments in
style. The Guelph Christ Medallion stands as the only example of Merovingian
interests (i-l). The Carolingian renaissance and its revival of the "antique" is
illustrated in three works: the Reims Psalter from Troyes Cathedral and the Nar-
bonne and Boston ivories (i—4,2,3). Early Romanesque, or proto Romanesque if
you will, is well represented with manuscripts, ivories, an enamel, a metalwork
sculpture, and one stone capital. These works reflect a variety of influences from
English, Ottoman, Mediterranean, and Near Eastern sources. They also prefigure
the developments of the twelfth century and the evolution of the monumental in
sculpture, paint, and enamel. Languedoc, Burgundy, Ile-de-France, Loire Valley,
Limousin, Champagne, Lorraine, and northeast areas are all represented. Early
Gothic objects are also richly shown, and these originate from many of the same
areas. Especially important is the group of about ten works which illustrate a
classicistic and pseudo-Byzantine style evident in the first half of the thirteenth
century. This ranges from stone sculpture to stained glass, manuscript painting,
ivory, metalwork, and even embroidery. The early courtly grace of French art
prior to and around 1300 is amply indicated in ivories, stone and wood sculp¬
tures, and metalwork. At the head of the list is the ivory Virgin from Sainte-
Chapelle from the Louvre (v—7) and the Hours of Jeanne d’Evreux lent from
New York (v—15). The International Style, a subject especially familiar because
of the recent exhibitions, is well exemplified by some of the finest masterpieces in
existence in the fields of manuscripts, panel painting, sculpture, and metalwork.
Jean Bondol, the Limbourg Brothers, the Boucicaut Master, and the Rohan
Master are all represented by their masterpieces (vi—3,28,29,33) * The Interna¬
tional Style as seen in works originally from the Chartreuse de Champmol near
Dijon is found in the panel painting by Jean de Beaumetz and in the Mourners
from the Tomb of Philip the Bold (vi—12,21).

A continuation of both monumental and exquisite interests and a renewed
vigor of naturalistic observation may be seen in the late Gothic style of the second
half of the fifteenth century and of the early sixteenth century, as shown in ob¬
jects in all media: sculpture, painting, manuscript illumination, enamel, metal¬
work, and tapestry. Several tapestries are representative of a style developed
after an initial impetus from Tournai in the basin of the Loire.

The current exhibition also makes it possible for the visitor to follow the con-

tinuity of style in works by one master, as in the two enamels by the Master of the
Grandmont Retable from the Musee de Cluny in Paris and from the Cleveland
Museum (in—30,3^) - Also, it is possible to trace the style and influence of one
master via the work of his atelier and his followers. A study of Claus Sluter and
his influence can be begun in this exhibition with the gilt-bronze Kneeling
Prophet, the Mourners from the Tomb of Philip the Bold, and a large stone
Virgin and Child (vi-20,21,22). The impact of Andre Beauneveu working in
Berry is felt in Cleveland’s large limestone Madonna and Child (vi-8). The
hand of Jean Bondol and his atelier may be followed in the Gotha Missal (vi-3).
The Limbourg Brothers may be seen repeatedly in the Belles Heures (vi-28).
The Boucicaut Master can be observed in his masterpiece, lent from the Musee
Jacquemart-Andre in Paris, and in three other manuscripts as well (vi-29,30,31,
32). The strangely expressive work of the Rohan Master is found in the famous
manuscript known as the Rohan Hours, lent from the Bibliotheque Nationale
(vi-33). Placed with it is another distinguished manuscript called the De Buz
Book of Hours, which was illuminated in the same atelier (vi-34) . The Bedford
Master, while not represented by one of his masterworks, is exemplified possibly
in a very early work by his hand and by works reflecting his later style (vi—27,35).

Changing religious and secular purposes are reflected in all of the objects in
the exhibition. These purposes are essentially their prime raison d'etre, although
the more obvious purposes are not always spelled out in the catalogue entries.
The changing preferences in manuscript texts are clearly seen in the emphasis on
gospels, psalters, and sacramentaries made for church and monastic abbey in the
earlier periods being replaced by missals, books of hours, and secular texts made
for royalty, the aristocratic collector, and the wealthy or powerful patron in the
later epochs. The role of liturgical drama may be felt in such Romanesque works
as the two capitals dealing with the Daniel story (hi—11,12) , or more familiarly
in the several fourteenth- and fifteenth-century works, as suggested long ago by
Emile Male. The cults of the relic and of the Virgin are represented. So also is
the exquisite mysticism and pathos found in the International Style, as in the
Beaumetz panel or the Belles Heures (vi-12,28). A preoccupation with love,
death, time, and eternity underlies the superficial gaiety of the secular Chaumont
tapestries (vii-22,23,24,25).

The final selections also underscore fields of study which have been widely ig¬
nored in recent years, a point especially made clear by the group of late Gothic
sculptures. The series of early Limoges works was intentionally emphasized and
in so doing calls the bluff of many American scholars who assume that such work
was merely '‘manufactured” and could not rival the finest Romanesque and early
Gothic metalwork and enamels produced in other European centers.

Certain juxtapositions were chosen to be intentionally provocative. A conti¬
nuity of style in one center has been underscored by placing two walrus ivory
Elders of the Apocalypse (n—2,3) near a Gospel Book (n—1) produced thirty to
forty years earlier at the same Benedictine Abbey of Saint Bertin at Saint Omer.
An enamel Plaque lent from Dijon is confronted with the early twelfth-century
Chasse from Bellac, with a tentative proposal that they may have been made in
the same center (in—2,1). It has long been noted that the Limoges Sacramentary
of circa 1100 seems to prefigure many of the features of Limoges enamels of the
last quarter of the century and of the early thirteenth century (in—21). Visitors
to the exhibition will be able to confirm this by direct comparison. The grouping
of one of the Walters heads from Saint-Denis, the Head of Saint Benigne from
Dijon, and a relief of a Bishop, possibly carved in the Ile-de-France but now in
Bourges, raises questions of chronological precedence, and at the same time con¬
trasts the differing inspirations (ill—14,16,17). The previously noted stone Head
from Limoges (in—29) is remarkably akin in style and spirit to the enameled
heads of the Master of the Grandmont Retable (in—30,31). A Fouquet miniature
is contrasted with a work by an assistant of the contemporary miniaturist, Maitre
Francois (vii-4,5). Also, the Fouquet Portrait of an Ecclesiastic, a drawing
strangely Renaissance in feeling, is compared with a Burgundian Portrait of a
Nobleman, strongly medieval in flavor, created by an anonymous painter nearly
thirty years later (vn—8,21). Compared are two masterpieces of painted Limoges
enamels, by two different hands, the Master of the Orleans Triptych and the
Master of Louis xn Triptych (vn-10,19). Saucy irreverence and an observation
of life can be detected in a Bust Reliquary of Saint Felicule from Saint-Jean-
d’Aulps and in an ivory Candlestick Base with secular scenes lent from Saint-
Omer (vn—13,14).

The Cleveland exhibition also was planned to underscore recent discoveries,
some of which are not yet published. Many years ago Rosalie Greene of the
Princeton Index of Christian Art discovered that the monumental Daniel Capital
(in-12), formerly in Minneapolis and now in Cleveland, has a modern copy at
Saint-Aignan-sur-Cher. Included in her dissertation for the University of Chicago,
Dr. Greene’s discovery and identification is made public for the first time in the
catalogue entry, which also discusses some of the problems raised by this identi¬
fication. Cleveland’s Columnar Figure from Notre-Dame-en-Vaux at Chalons-
sur-Marne (ill—27), identified by Willibald Sauerlander in 1963, brings to the
fore the whole complex of sculptures once part of the cloister of that church,
recently exhaustively studied by Leon Pressouryre. Sculptural fragments from
Saint-Denis identified by Marvin C. Ross and Vera K. Ostoia and a Head from
the Saint Anne portal at Notre-Dame in Paris identified by the late James J.

Rorimer are shown (iii-14,15,25) . Eleanor S. Greenhill’s identification and anal¬
ysis of a monumental Head and two torsos from the Judgment Portal of Notre-
Dame in Paris is given emphasis by the loan of the Head from Chicago (iv-l).
These fragments, plus the original reliefs still in situ, suggest that the lower por¬
tion of the Judgment Portal has a primacy in the introduction of a classicistic
style into the Ile-de-France. A model for a sculpture of Due Jean n de Bourbon,
formerly attributed to the circle of' Jacques Morel by the late Martin Weinber¬
ger was ascribed to Michel Colombe by Pierre Pradel in his book on this artist
published in 1953 (vii— 9). Completely hidden from view was the tapestry of
Saint Eloi from Beaune, recently rejuvenated by the Monuments historiques.
This tapestry makes its first public appearance in this exhibition (vn—16). The
group of tapestries from Chaumont, now divided between Cleveland and De¬
troit (vii—22,23,24,25), brings renewed attention to the researches of Dorothy
Shepherd in the field of Loire Valley tapestries.

By intention, uncertainly attributed objects were not avoided in the selection
process preceding the exhibition. Instead, objects with "problems” were sought
out, just so their difficulties could be aired and be subjected to further study. One
of these objects is the early Romanesque Comb "dite de Saint Henri” lent from
Verdun (n—6). Various attributions have been made, including Germany and
England. This catalogue proposes on a tentative basis a northeast French localiza¬
tion. The loan of fragments from Cluny and Autun touch on the origins recently
suggested for Gislebertus, the great sculptor who signed the tympanum at
Autun. The enigmatic Head from the trumeau of Saint Benigne in Dijon brings
up another question not so easily determined (in-16). Does it depend on Saint-
Denis or does it precede it? If we are to believe W. L. Hildburgh, the thirteenth-
century Madonna and Child from Breuilaufa would be Spanish. However, the
preponderance of opinion states that it was made in the Limousin. A decision in¬
volves certainly the whole group of related copper-sheathed Madonnas. Where
were the fourteenth-century translucent enamels made, like the tiny diptych
from the Blumka collection (v-12) ? Could this be Paris, or is it Aachen? Some
would even say England. Where were the enamels on gold produced in the
International Style made? The Cleveland Medallions, mounted in modern times
as a necklace, point up this question (vi-19). Was the Beaune tapestry with the
arms of Chancellor Rolin made at Beaune, or in some other French Burgundian
center, or in one of the areas to the north, at Arras or some related center?

More general art-historical controversies have not been avoided either, though
no final solution has been attempted in this catalogue. The loan of the Relief of
the Sign of the Lion and the Ram (in—4) raises several controversies of inter¬
pretation, the most heated being the question of primacy of sculptural inno-
6

vations in the churches along the pilgrimage road. For students of this problem,
the question of Spain or Toulouse can begin anew in Cleveland for the dura¬
tion of the exhibition. The various head fragments from late Romanesque and
early Gothic portals bring up difficulties of chronology in iconography and stylis¬
tic change. The multi-faceted evolution of the columnar jamb figure, still contro¬
versial, is reflected in some of the loan sculptures. Can an influence from Mosan
art be detected in specific stages of this evolution ? Is the earliest classicistic mon-
ment in the Ile-de-France really the Judgment Portal of Notre-Dame in Paris?
What is the development of grisaille painting, and can we isolate any explana¬
tions for its use ?

An attempt was made to reunite temporarily several works fragmented by
time. The assembled loans do not always constitute a complete reconstruction but
instead suggest something of lost richness, scale, and detail. This is especially true
of the two fragments from the facade portal of Cluny III lent from Cluny and
from the Rhode Island School of Design (hi— 8,9). Also, the extraordinary gran¬
deur and monumentality of a lost Limoges altar frontal is evoked in the five
assembled reliefs from Boston, Baltimore, Minneapolis, and Paris (iv-4,5,6,7,
8). A mid-fourteenth-century Annunciation group in marble from Javernant, one
of the most exquisite and courtly products from Champagne, is seen as one rhyth¬
mic composition for the first time in more than sixty years (v-21,22). The Angel
belongs to the Cleveland Museum, and the Virgin, formerly in the Doistau col¬
lection, comes from the Louvre. Unfortunately, an attempt to reunite a mid¬
fifteenth-century walnut Mourning Virgin of the Metropolitan Museum (vn—2)
with the Mourning Saint John, both from the same Crucifixion group, was not
consummated. These pieces were once at the Abbey of Beaugerais (Indre-et-
Loire).

Other factors were kept in mind in the selection of objects. A survey was made
of the enormous bibliography and the large number of exhibitions which touched
upon the subject of the present exhibition one way or another. A unique scope
and catholicity of purpose evolved in relation to this research. Even a summary
review of the record of the previous exhibitions, all of which had quite different
aims, underscores the special value of the present exhibition as finally consum¬
mated. The Paris Exposition des primitifs frangais of 1904 contained paintings,
a few sculptures, a few ivories, and a group of manuscripts all dating from the
fourteenth through the sixteenth centuries. Only four objects from this exhibition
reappear in Cleveland (v—21; vi—4,29; vn—8), where about eighty objects in the
same area of focus are shown. Two manuscripts shown in the Burlington Fine
Arts Club exhibition of illuminated manuscripts held in London in 1908, both
now in American collections, are seen again in the present event (v—1,2). Two

other manuscripts, shown in Le livre franfais at the Musee des arts decoratifs in
1923 also appear (in—7; Vi-32). The exhibition, Moyen-Age, held at the Rib-
liotheque Nationale in 1926 was devoted to manuscripts, drawings, prints, metal¬
work, jewels, printed books, and medals from a variety of origins, such as By¬
zantium, Italy, Germany, Spain, and the Netherlands, as well as France. Only
two manuscripts from this group, the Boucicaut Hours and Rohan Hours, recur
(vi—32,33). In 1928 the Detroit Institute of Arts held an exhibition, French
Gothic Art of the Thirteenth to Fifteenth Century, from which four objects,
all American-owned, are repeated (vi—14,19,22; vii-5). In 1932 the Royal Acad¬
emy in London mounted a large exhibition, French Art, 1200-1900, from which
one Romanesque manuscript (ill—7 ) and five Gothic works were borrowed again*
The Gothic works are the ivory Virgin from Sainte-Chapelle from the Louvre
(v-7), the ivory Pyxis from Dijon (v—16), the large grisaille drawing on vellum,
illustrating the Death of the Virgin, lent from the Louvre (vi-ll), Cleveland's
Sachs Annunciation panel (vi-14), and the Fouquet drawing from the Metro¬
politan (vil-8)* Three Morgan manuscripts included in The Pierpont Morgan
Library Exhibition of Illuminated Manuscripts of 1933-1934 may be seen again
in Cleveland ( 11 —1,5; v—1). The mammoth exhibition in Paris in 1937, Chefs-
d'oeuvre de Fart fran^ais, had a similar scope to the earlier but smaller London
exhibition. From about 1,340 items, dating through the nineteenth century, ten
recur in Cleveland, including three Romanesque stone sculptures ( 111 —4,5,6), the
Eucharistic Coffret from Limoges (m-35), two Gothic stone sculptures (m—37;
jv-3), two Gothic ivories (v-10,16), the Boucicaut Hours (vi- 29 ), and the
armorial tapestry lent from Beaune (vii —3) * In 1940 the Museum of Fine Arts of
Boston held an exhibition—-Arts of the Middle Ages, 1000—1400—which encom¬
passed all of Europe and Byzantium. Six objects, all of them Romanesque but
one, are repeated; three of these, then on the art market, have joined the others
in American public collections (n—1,5,9; ill—6,10; iv-l), Of the eight tapestries
included in the present exhibition, three were seen in the great survey of French
tapestries from the Middle Ages to the twentieth century held in Paris in 1946
and in New York in 1947 just following World War li (vi—36; vii—3,26). Of the
158 examples of Limousin enamels shown at Limoges in 1948, six pieces may be
seen at Cleveland (ill—1,32,3335; iv-5,24). However, thirteen additional Li¬
mousin works not shown at Limoges were borrowed to make a total of nineteen,
the most important loan group in this field ever assembled in the United States,
In 1949 the Walters Art Gallery put together an exhibition, Illuminated Books
of the Middle Ages and Renaissance, which included European manuscripts
from American collections. Only two Romanesque and seven Gothic manuscripts
join in the total number of thirty-two manuscripts now at Cleveland ( 11 — 5; jii—2 1;
8

iv—14; v—1,14; vi—23,31,34; vn—5). La Vierge dans l’art fran<;ais was the subject
of an exhibition held in the Petit Palais in Paris in 1950, and six Gothic examples
of this group are found in Cleveland (iv—15; v—6,10; vi—13,33; vii— 10). Six re¬
peats occur from French Painting 1100—1900, installed at Pittsburgh’s Carnegie
Institute in 1951 (vi- 14,23,27,34; vii—5,8).

An attempt was made to steer clear of objects created beyond the borders of
present-day France. This especially excluded Mosan works such as those admi¬
rably shown in the exhibitions in Paris and in Liege in 1951. Limitations in the
requests for stained-glass panels were necessitated because of the extreme fragil¬
ity of such glass. However, of the three examples secured, two appeared previ¬
ously in the exhibition, Vitreaux de France du XL au XVL siecle, held at the
Musee des arts decoratifs in Paris in 1953 (iv—10; vi—9). One Carolingian, six
Romanesque, and five Gothic manuscripts appear in Cleveland from the two
memorable exhibitions of French manuscripts organized by Julien Cain and the
late Jean Porcher in Paris in 1954 and 1955 (i—4; II—1,5,10,11; in—3,7; vi—5,26,
29,32,33).

Selections were made of objects which also appeared in ten exhibitions held
more recently: eight objects from Chefs d’oeuvre romans des musees de Prov¬
ince (Paris, 1957 and 1958), four from L’art en Champagne au moyen-age
(Paris, 1959), eleven from Cathedrales (Paris, 1962), four from Europiiisches
Kunst um 1400 (Vienna, 1962), ten from International Style, the Arts of
Europe around 1400 (Baltimore, 1962), seven from Gothic Art 1360-1440
(Cleveland, 1963), one from Notre-Dame de Paris, 1163-1963 (Paris, 1963),
one from Huit siecles de sculpture frangaise, chefs-d’oeuvre des Musees de
France (Paris, 1964), thirteen from Les tresors des eglises de France (Paris,
1965), and one from L’exposition Charlemagne, oeuvre rayonnement et surviv-
ances (Aix-la-Chapelle, 1965). Several of the same items recur a number of
times in these exhibitions, and a few others not mentioned. The resulting total
of such works seen now again in Cleveland is 87. The present exhibition num¬
bers 158 pieces, of which therefore 71 works were not shown in the previous
series. A more detailed survey would show that the Cleveland exhibition is
nearly unique in its aim to show masterpieces in any material selected from the
entire range of French medieval art.

In preparing the Cleveland exhibition there were of course many disappoint¬
ments resulting from the unavailability of requested monuments. Also, many
other objects were never even considered because of known restrictions or their
unsuitability for travel. While only a bare fraction of the preserved wealth of
material is shown in Cleveland, it would be foolish to attempt more. The exhibi¬
tion is of palatable size for the average intelligent visitor, and it will be, of course,

extremely provocative to the student of history of art. However, the fact that
loans from American collections are included does not imply that this is all of the
cream of French medieval art in America. One need only visit the medieval col¬
lections in Boston, Cambridge, Philadelphia, the Morgan Library, the Walters
Art Gallery, and the incomparable confluence of the gifts of Morgan, Blumen-
thal, and Rockefeller together with the purchases of the late James J* Rorimer
and his staff at the Metropolitan Museum and its branch at the Cloisters to realize
how little of the surface has been scratched* Furthermore, many but not all of the
great acquisitions of William M* Milliken, Director Emeritus of the Cleveland
Museum, are included* Objects such as the fine series of Romanesque capitals
from the Collegial e of Saint Meleine at Preuilly-sur-CIaise, a number of manu¬
script illuminations, and several Limoges enamels may be seen in their regular
places in the Museum’s permanent collections* Also, it is well to remember that
there are isolated masterpieces scattered in many other public collections across
the country, not the least of which are in college museums* All of these objects,
like those included in the exhibition, are eloquent testaments to the genius of the
French medieval artist and the glory of France in the Middle Ages*

William D* Wixom

CHAPTER ONE

Merovingian Inheritance
and Carolingian Experiment

Frankish Kingdom,
second half 8th century

I 1 Medallion with Bust of Christ. Cloisonne enamel on copper, Diam.

1-15/16 inches. Provenance: Treasury of the Cathedral of Saint
Blasius, Brunswick. The Cleveland Museum of Art, Purchase from the
J, H, Wade Fund, 30.504

Disarming simplicity and a Calder-like naivete give this
enamel disk its unique decorative appeal to the modern eye*
Yet this small object has its own mystery as a primitive Chris¬
tian image. It conveys a momentous concept, which pervades
the art of the Middle Ages: Christ as Logos, holding the
Book, symbol of the Word, placed above the double circles
of heaven and earth, flanked below by strange animal heads
with spouts or winds which seem to give forth the symbols
of Christ as the beginning and the end—the A of alpha and
the tii of omega.

This is an early, experimental amalgamation between two
forceful artistic traditions. The first is the abstract, linear
animal style of the migrating peoples, specifically that of the
Frankish peoples converted to Christianity under Clovis
(481-511). The second tradition is that of the flgural style

of the Mediterranean world already adapted to the uses of
Christian dogma. Tentative as it is, the Cleveland Medallion
is one of the most successful in this amalgamation of a small
group of enamels done in the same technique and from the
same early period.

An exact dating cannot be given for the Cleveland Medal¬
lion. However, it should be considered in conjunction with
the others in its immediate group and studied in relation to
the entire sequence of early medieval European enamels.
Also a similar linear imagery may be seen in late Mero¬
vingian manuscripts, such as the Gudohinus Gospels of 754
(Autun MS. 3). Such comparisons support a dating of the
Cleveland Medallion at the end of the Merovingian era and
on the threshold of the Carolingian renaissance.

Workshop of Charlemagne's court, I 2 Plaque with the Crucifixion and Scenes of the Last Supper, Betrayal

early 9th century of Christ, Three Marys at the Tomb , Incredulity of Thomas, Ascension

of Christ, and the Pentecost, Ivory, H. 10, W. 6- 3/16 inches. Inscriptions: Titulus
above Christ, hic est ihs nazarenvs rex iVDEOR[um]; sinister, mvlier ECCE
FiLivs tvvs; dexter, aple ecce mater tva. Narbonne (Aude), Tresor de la
cathedrale Saint Just.

The enormous impact of Charlemagne’s revival of learning
and the arts can be felt in this single ivory Plaque, The tenta¬
tive and cursive character of the lingering Merovingian style
observable In the Christ Medallion (cat. no. i-l) is here
abandoned in favor of a creative revival of late Roman and
early Christian draped figure style. A clarity and discipline
of a different sort has come to the fore in the presentation of
a complex Iconographical program. The expressive power
given to this program results from the use at the same time
of a distinctive shorthand and an animated spatial i Hus ion-
ism in which figures are modeled, move and gesticulate.
The composition is dominated by the figure of the youth¬
ful, beardless, and triumphant Christ, whose suffering is

more symbolic than realistic. About the cross are small scenes
of the Passion and episodes after the Resurrection. The small
scenes are based in part on similar scenes and tight frieze-like
compositions of figures in fourth-century ivories. The chief
difference is that a new sense of animation and inner vibrancy
is found in the Carolingian work.

Possibly intended to be set into a book cover, the Nar¬
bonne ivory is one of several Carolingian ivories with many
of the same features. Hermann Schnitzler has assigned this
ivory, together with several others, to the late production of
the Ecole de la com which were completed before the
death of the emperor.

Metz or Palace School
of Charles the Bald,
late 9th century

I 3 Apparkton of Christ in Jerusalem. (See Mark 16:14; Luke 24:36-50;

John 20: 19-23.) Ivory, H. 2-13/16, W. 2-1/8, D. 3/8 inches. Boston,
Museum of Fine Arts, William E. Nickerson Fund, 50.819,

Except for the loss of Christ’s head, this ivory is in as im¬
peccable condition as the Narbonne ivory (cat. no. 1=2). Yet
the eye is teased to discern the differences between the two—
the larger plaque representative of the earlier court "school”
of Charlemagne and the smaller relief exemplifying the
style of a "school” under Reims influence, possibly Metz, a
generation later.

One might compare the treatment of the crowd in the
closely related scene of the Incredulity of Thomas in the
lower right part of the Narbonne plaque with the Apparition
of Christ in Jerusalem. Spatial depth is replaced by contained
vertical extension. The figures of the Narbonne plaque,
crowding forward against each other and retaining a Com
stantinian frieze-like character, are substituted by a clearly
distinguishable number of figures and heads, one set above
the other, making the recession move upwards but not in
depth. The apostles are displayed more dearly in this way
and are even countable.

The architecture in both cases tends to offset the enlarged
central figure. The Boston plaque emphasizes this with the
repeated vertical accents of the closed door flanked by col¬

umns and the double columns above and inside the interior
space which support an otherwise ambiguously placed tile
roof.

Taken together in their entirety, the two ivories suggest
that artistic and patronage interests in the Carol ingian period
were far from static. The ideal of late Roman-early Christian
illusionism, once so vital to the early Carolingians, was prov¬
ing more and more irrelevant to Christian dogma. This point
is borne out by a comparison with the several possible sources
for the composition of the Boston ivory proposed by Hanns
Swarzenski, Scenes in the famous Carol ingian Psalter, pro¬
duced near Reims and now preserved at Utrecht, and specifi¬
cally a miniature illustrating the Ascension and Pentecost in
the Bible of San Callisto, made at Reims circa 870, show a
strong preoccupation with vibrant quivering excitement and
staccato stages moving upward and across the area allotted
for illustration. This process, already begun in the Narbonne
ivory as a whole, was not carried out in the individual scenes,
exactly the development accepted in the Boston relief and
the Troyes Psalter miniature (cat. no. r-4).

Reims, mid-9th century

Psalter, in Latin. Vellum, 147 folios, H. 9-7/8, W. 6-1/8 inches.
Troyes (Aube), Tresor de la Cathedrale, MS. 12.

I 4

Only one of the possibly three original painted miniatures in
this Psalter is preserved* However, this single miniature de-
mands more attention than it usually is given, being eclipsed
by the more famous Gospels made for Ebbo, Archbishop of
Reims (816-835/45).

The one remaining miniature, which is reproduced, illus¬
trates Psalm Li in the Latin Psalter of St, Jerome. It is dose
com position ally and iconographically to the pen-drawn min¬
iature in the even more famous Utrecht Psalter, produced
near Reims and dated circa 820 to circa 850 (cf, Engel-
bregt). The Psalm*s title, . when Doeg the Edomite came

and told Saul, and said unto him David is come to the house
of Ahimelech" (I Samuel 22:9), is reflected in the lower
left portion of both illustrations* Near the center of both
compositions, the bearded psalmist, holding a razor, gesticu¬
lates to Christ-Logos, seated in a mandorla above with angels
and saints. Because of the contraction of the composition in
the Troyes miniature, the olive tree mentioned in the Psalm
is pushed to the upper left corner. Thus, as can be seen in its
one extant miniature, the Troyes Psalter, like the Utrecht

Psalter, attempted to provide direct and nearly literal textual
references in its illustration*

Quotations from the Psalm further reinforce the literal¬
ness of the Troyes representation* Between the elongated
acroterion and the psalmist is: tota die iniustitiam. At the
center is: propterea d(cu)s. Beneath the olive tree is: ego
autem sicut oliva. Above the heads of the saints at the left
is: VIDEBUNT IUSTL

As a painted near-equivalent to the pen-drawn style of
the Utrecht Psalter, the Troyes miniature is nearly unique*
In its painterly depiction of figures and architecture in land¬
scape space, framed with wide borders, it can be grouped
with the contemporary Physiologus at Bern. Both manu¬
scripts, as in the entire Reims school, show in varying ways
a strong but creative dependence on Greco-Italian traditions.
The difference is that painterly iilusionism was used for ex¬
pressive ends—the figures in the Troyes miniature have an
emotional, dynamic intensity expressed in terms of vibrant
color, flicks of light, and nervous movement*

CHAPTER TWO

Proto -Romanesque,

Assimilations,

and Monumental Art

Northeast France, III Four Gospels, in Latin. Vellum, 9 6 leaves, H. 12-1/4, W. 7-7/8 inches.

Benedictine Abbey of Provenance: Abbey of Saint-Bertin at Saint-Omer. New York, The

Saint Bertin at Saint Omer, Pierpont Morgan Library, M. 333.

early 11th century (before 1008),
by Abbot Odbert and Assistants

The precocious brilliance of Carolingian manuscript paint¬
ing had few worthy heirs in tenth-century France. Instead the
torch was kindled anew in the great Ottonian monastic cen¬
ters to the east, as at Corvei on the Weser, Reichenau, Trier,
Fulda, and Regensburg. The English center at Winchester
was an especially creative force at this time. By contrast the
monastic scriptoria within the confines of present-day France
were hesitant and tentative to say the least.

However, around 1000, northeast France witnessed the
development of several related but distinct styles of manu¬
script painting. Especially outstanding in this respect was the
Benedictine Abbey of Saint Bertin at Saint Omer which pro¬
duced this Gospel Book. Carolingian features were revived,
as can be seen in the Evangelists enthroned against russet
purple backgrounds and framed by heavy acanthus-filled bor¬
ders. The style of Winchester made enormous inroads and
some Carolingian features are seen through English eyes;
nervous pen-drawn drapery folds of the Utrecht Psalter are
hardened a little and the hanging folds become frozen in the
Winchester manner. This is understandable, as the Utrecht
Psalter had been brought to England shortly before 1000.
The explosive character of the acanthus, especially at the
corners of the borders, also testifies to English inspiration.

The real contributions of the painters at Saint Bertin lay
in two directions. The first was in terms of a rich color en¬
semble which emphasized olive greens, russet purples, blue
highlighted with lines of orange and white, bare-vellum
with orange lines, and an occasional intense area-color ac¬
cent of orange or green.

The second contribution lay in the direction of the devel¬
opment of the historiated or inhabited initial and enframing
border. The germ of this, of course, lay in the earlier styles
of the pre-Carolingian period. Otto Pacht has observed that

the manuscript illuminators at the monastery at Corbie, circa
800, gave impetus to the use of a kaleidoscopic involvement
of man, animal, leaf work, and letter. It is to the intensifica¬
tion of this anti-classical tradition that much of Romanesque
art is dedicated. The purpose is still clearly in the glorifica¬
tion of the Word, the New Order, the entire Christian
dogma. Nowhere can this be better seen than on the pages
facing the Evangelist portraits (themselves heirs to the tradi¬
tion of classical author portraits). Folio 85, in principio
erat verbum. . . (In the beginning was the Word...)
shows in the initial I, the Crucifixion with the Virgin and
Saint John, and below, the Church triumphant over the Syn-
agogue. The border contains scenes of the Harrowing of
Hell, the Three Marys at the Empty Tomb, and Christ’s As¬
cension (top). Symbolic figures for the four rivers of Para¬
dise and below of earth and sea complete the sequence. It is
notable that all of these figures and representations are
treated in similar manner as the ornament itself. There is no
distinction of foreground and background. The same pen
outlines figures and acanthus. Clearly late Classical-early
Christian illusionistic purposes have at this point been ab¬
sorbed and abstracted within the Romanesque continuum of
forms discussed by Professor Pacht. 1

The late A. M. Friend related this Gospel Book to a great
Psalter at Boulogne (MS. 20) which Odbert, abbot of Saint
Bertin from 986-1008, signed as decorator. Friend further
suggested that the pen-drawn and wash figures found below
the text on folio 84 of the Morgan manuscript might repre¬
sent Abbot Odbert and Dodolinus, a scribe, presenting their
work to Saint Bertin.

1 Otto Pacht, "The Pre-Carolingian Roots of Early Romanesque
Art," Studies in Western Art, vol. i: Romanesque and Gothic
Art (Princeton, 1963), pp. 67-75.

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Northeast France,

Saint Omer,

Abbey of Saint Bertin,
ca. 1050

II 2, 3 Two Enthroned Elders of the Apocalypse. Walrus ivory, n-2:

H. 4-1/2, W. 1-3/4 inches; Saint Omer (Pas-de-Calais), Musee
Hotel Sandelin. n-3: H. 4-3/8, W. 1-7/8 inches. New York, The Metropolitan
Museum of Art, Gift of J. Pierpont Morgan, 1917 (17.190.220).

These two walrus ivory relief figures were probably once part
of a larger series illustrating the twenty-four elders of the
Apocalypse envisioned by Saint John. Only four are known
today and these were described by Adolph Goldschmidt who
also assigned them to the Abbey of Saint Bertin. The Saint
Omer example was found in a tomb in Saint Omer. Gold¬
schmidt’s dating in the twelfth century is too late, as recog¬
nized by Hanns Swarzenski in his Monuments of Roman¬
esque Art. These small figures have a richness of surface,
especially in the use of paired lines for folds and zigzag
drapery edges, which closely ally them to the work of Odbert
and his assistants as seen in the Morgan Gospels (cat no.
ii—1). Also similar are the intent facial expressions, figure
proportions, and multi-columned or balustered thrones based
on Byzantine art. Their animation becomes more monu¬
mental in the series of elders on the great stone tympanum
at Moissac carved more than one hundred years later.

Poitou, ca. 1044-1049

II 4

Engaged Capital. Stone, PL 16 - 1 / 8 , W. 21-5/8, D. 22-1/2 inches.
Provenance; Probably from the Choir of the Church of Saint Hilaire,
Poitou. Poitiers (Vienne), Museemunicipaux.

Monumental, confronted, and contorted lions crouch with
their heads turned back, one with tongue hanging. Certainly
this is an example of the welling up of the primeval animal
styles pervasive in Europe since early times. The carving of
the manes with angular parallel grooves recalls the 'chip
carving" found again and again in the metalwork of the
migrating peoples, as for example In some of the seventh-
century Frankish and Burgundian buckles and fibulae.

The vegetable form in the center may represent the "tree
of life." Popular as a motif in Romanesque times, this fea¬
ture had ancestry in the ancient Iranian east. M. Sandoz sug¬
gests that the intermediaries could have been textiles and
manuscripts. These would probably have been both Byzan¬
tine and Western examples. Eastern textiles were directly
copied on several occasions in Gttonian manuscripts. Lions,
tongues out, confront a tree of life on a decorative page in¬
spired by Eastern textiles in the Codex Aureus of Echternach,

mid-eleventh century, now preserved at the Germ an is dies
National-Museum, Nuremberg,

The stylistic character of the lions on the Capital have a
close parallel in the seventh-century Iranian textiles placed
(before 853) in the reliquaries of Saint Colombo and Saint
Loup in the treasury at Sens. These particular examples have
special interest in that they show their confronted lions with
very similar stylized manes and with two-toed paws suggest¬
ing cloven hoofs. Also at the treasury of Le Mans can be
seen Spanish textiles with confronted lions, possibly con¬
temporary with the Capital, which exhibit a related treatment
of the manes.

The Capital was probably a part of the choir of the Church
of Saint Hilaire at Poitiers constructed between 1044 and
1049, when it was dedicated on November 1 under the aus¬
pices of Guillaume vn, Duke of the Aquitaine (Pierre
Aigret), and his mother Agnes of Burgundy, Countess of
Poitou.

Sacramentary, in Latin. Vellum, H. 11-1/4, W. 8-1/2 inches. New
York, The Pierpont Morgan Library, M. 641.

Normandy, II 5

Abbey of Mont-Saint-Michel,
second half 11th century
(after 1067)

A product of the scriptorium of the abbey at Mont-Saint-
Michel, this Sacramentary was probably made for use at the
monastery at Fecamp in the diocese of Rouen, as proposed
in 1932 by Meyer Schapiro. The manuscript is written and
illuminated on a heavy cream vellum. There are sixteen min¬
iatures and eighteen historiated or decorated initials. Some of
these may have been painted by the same painter who worked
on a manuscript now at Avranches (MS. 72). The earliest
example of the rarely depicted story of Heraclius’ two ap¬
proaches to the city of Jerusalem appears in a double register
miniature on folio 155 verso.

The style of this manuscript is closely related to other
manuscripts from Mont-Saint-Michel and is particularly
noteworthy in its subtle use of chalky, opaque pastel colors,
much in the manner of Nice period paintings by Matisse.
This pallor may be seen at an earlier date in Winchester
manuscripts, yet the density of the color as well as the occa¬
sional intense color notes seem to be more characteristic of
the Continent at this time.

The Sacramentary is a good example of the tenacity of
artistic traditions. The frames with their accented corners
variously recall ninth-century Franco-Insular manuscripts or

later Winchester adaptations. The full-page decoration and
text for the collect for Easter Sunday on a purple ground
(folio 66 verso) has a frame with trellised acanthus very
much in the manner of the Winchester school. The figure
style of the Christ within the letter B on this page, and also
of the other historiated initials and miniatures, retains a cer¬
tain amount of the drapery animation derived from Caro-
lingian art via English adaptations. The paired lines for folds
continue from earlier productions of north French scriptoria,
such as in the Gospels from the Abbey of Saint Bertin at
Saint Omer (cat. no. n-1). Especially noteworthy is the use
of architectural excerpts which hang canopy-like over some
of the figure compositions. These could have their ancestry
in the Carolingian uses of architecture as in the backgrounds
for Evangelist portraits and in the excerpted buildings in the
upper reaches of the grandiose compositions of the Utrecht
Psalter. The canopies of excerpted architecture continue
through the Romanesque period in France, in manuscripts,
in enamels (cat. no. III-3), and in sculptured works as in
the Daniel Capital (cat. no. in-12).

11th century

II 6

Liturgical Comb, said to be Saint Henry's. Ivory, H. 3-3/8, L, 4-1/8
inches. Provenance: Abbey of Saint-Vanne until 1792, Verdun
(Meuse), Musee de la Princerie.

Tradition tells us that this Comb was used in the consecration
of Henry n, Emperor of the Holy Roman Empire, 1002-
1024, Henry is said to have given the Comb in 1023 to
Abbot Richard of the Abbey of Saint-Vanne. Inventories of
1745 and 1763 for this Abbey list the Comb among its tress-
ures. It has long been assumed, especially since Goldschmidt
included it as a twelfth-century object in his corpus of early
ivories, that the style of the Comb precluded a date early
enough to confirm this tradition.

The Passion of Christ is partially represented in the scenes
which appear on one side of the Comb. These include the
Last Supper, with Judas at the lower left, the Arrest of
Christ, the Flagellation, and two angels in the upper sections,
one of whom holds a small figure, possibly representing a
soul. (This could be a reference to the Resurrection hinted
at on the reverse,) Below at the right two prophets study an
opened book. On the reverse of the Comb may be found
scenes of episodes after the Crucifixion. They are the En¬
tombment with Nicodemus anointing the body of Christ, the
Three Marys at the Empty Tomb, above an angel with a
censer, and below the Noli me tangere. At the left are tw r o
of the soldiers usually depicted at the grave at the time of the
Resurrection, a scene which is not shown. It is significant that
this important subject and also that of the Crucifixion are
omitted, a fact possibly explained by the liturgical use of the
Comb after the application of holy oil. The liturgical purpose
of the Comb may account for the fact that the Last Supper,
the Anointing of the Body of Christ, and the three Marys
bringing jars of ointment to the tomb are given the greatest
amount of space. Mary Magdalene, shown alone with Christ
in the scene below the empty tomb, was identified with the
woman who had earlier washed Christ's feet with her tears
and anointed them with the ointment (Luke 7:37-38). One
of her attributes in art is the ointment jar. Tiiese considera¬
tions, combined with the possibility that the artist was at¬
tempting to fit the scenes of a more iconographically complete
model into the difficult shape of the Comb, may explain the
iconographical program as well as the kaleidoscopic over¬
lappings and such excerpts as the soldiers at the tomb,

The Comb is appealing as a visual object. There is a frieze¬
like treatment of all of the subjects which unites them as
decoration. Yet within each unit are animated details which
give life to the whole, as in the grotesque figure of Judas
reaching upwards to the table with its large jar and pots with
fish. The artist is careful to inform us which figure is
Christ in every instance, in most cases by the crossed nimbus.
He also indicates with a key which figure is Peter at Christ's
right at the Last Supper. Momentous events are given a vivid
embodiment in a small space. The narrow ends of the Comb
are enlivened by two winged, fantastic beasts with knotted
or foliated tails.

The style of the Comb should be carefully considered
anew. The fact that it is somewhat tentative and not dearly
and dominantly Romanesque in feeling would immediately
put suspicion on Goldschmidt’s late dating. Not enough is
known about ivory carving in the eleventh century to make
any definite attribution as to the localization. German and
English attributions have been made. Lower Rhenish areas,
including the Lorraine, should also be considered. We are
told by the late Jean Porcher that Abbot Richard himself had
made his Abbey of Saint-Vanne in the Diocese of Verdun
"the center of monastic reform that embraced a number of
communities in the district of the Meuse." The manuscripts
decorated for him "recall by their classical elegance the
paintings executed towards the end of the tenth century for
Egbert, Archbishop of Trier. .. T 1 Perhaps the Comb was
made at Saint-Vanne. So also should be considered such
northeast "French" centers of Saint Amand and Arras which
come to mind because of stylistic similarities with their man¬
uscript productions of the same period, the second quarter
of the eleventh century. (A parallel stage of stylistic develop¬
ment may be seen in the Mont-Saint-Michel Missal in the
exhibition, cat. no. n-5. ) It would be amusing to find that
in a more precise dating and localization the story of the
liturgical Comb's connection with Henry ii might even be
confirmed.

] Jean Porcher, Medieval French Miniatures (New York, 1959),
p. 23.

Burgundy, Abbey of Cluny,
end of 11th century

Miniature Showing Saint Luke, from a Bible, in Latin. Vellum,
H. 4-7/8, W. 7-3/4 inches. Montreal, Mr. and Mrs. L. V. Randall.

II 7

The plastic monumentality of the depiction of Saint Luke on
this Bible fragment suggests that here is one of the most
impressive Evangelist "portraits” to be painted in the Ro¬
manesque period. The inspiration for this vision, of course,
must have been renewed contact with Byzantine painting,
possibly directly through manuscripts carried to the West or
indirectly through such centers as Monte Cassino or Rome,
or through the presence of Italian artists or their work at
Cluny. Carl Nordenfalk describes the "damp fold” tech¬
nique of treating draped figures, which was carried over
from classical art by the Byzantines and developed by them
"into a systematic interplay of plastic folds forming well-
marked ridges and drapery surfaces clinging closely to the
body.” 1 Also the nobility of Saint Luke’s bearded head, and
his throne as well, strongly recall similar features in Byzan¬
tine art.

1 Carl Nordenfalk, Romanesque Painting (Lausanne, 1958),
p. 188.

Having assimilated the Byzantine aesthetic, our painter
alters it with his own refined, firm, linear elegance and his
use of subtle nuances. He is able to express repose and monu¬
mentality as in the seated figure, yet balance it with the dash¬
ing movement of the waving scroll and the bull emerging
from behind the enormous lectern.

The individuality of this distinctive style can be found
elsewhere in works produced at Cluny, especially in a con¬
temporary Lectionary now badly fragmented and in the
Bibliotheque Nationale in Paris (Nouv. acq. lat. 2246), to
which Philippe Lauer originally compared the Cluniac fres¬
coes at Berze-la-Ville. 2 Meyer Schapiro has re-examined the
whole subject of the Cluny manuscripts of this time in rela¬
tion to the Ildefonsus at Parma. In his study he has assigned
the Montreal miniature to the same hand who painted the
Lectionary in Paris. However, he believes for textual reasons
that the Montreal fragment comes from a Bible and not from
the Lectionary.

2 Philippe Lauer, Les Enluminures romanes des manuscrits de
la Bibliotheque Nationale (Paris, 1927), p. 31.

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Northeast France, Saint Omer ( ?), 11 8

end of 11th century

Christ in Majesty. Gilt bronze, H. 6-1/4 inches. Provenance: From
the chasse of Saint Babolin. Le Coudray-Saint-Germer (Oise), eglise.

Some of the stylistic features of the walrus ivory Elders from
Saint Bertin (cat. nos. II— 2,3) are continued in this Christ in
Majesty, as seen in the splayed legs, the paired lines for
folds, the zigzag drapery edges, the direct stare of the inlaid
eyes, and the forcefully modeled head. However, this bronze,
only about two inches taller than the ivories, suggests even
more the monumental sculptures of the tympana to follow
in the twelfth century, such as the central figures of Christ
at Anzy-le-Duc or Perrecy-les-Forges in Burgundy. The
bronze Christ belonged, together with several other pieces,
to a chasse dedicated to Saint Babolin.

f /

Rouergue, Conques ( ?),
late 11th century

II 9 Bust of a Saint. Cloisonne enamel, two thicknesses of copper, gilding,
H. 2-9/16, W. 1-13/16 inches. Boston, Museum of Fine Arts,
William F. Warner Fund, 49.471.

This remarkable enamel, here illustrated in color and en¬
larged twice its size, was undoubtedly produced in an enam¬
eling workshop closely related to the one responsible for the
cloisonne enamels on the Portable Altar of Saint Foy in the
well-known treasury at Conques. These enamels, with busts
of Christ, saints, and Evangelist symbols, are generally dated
at the end of the eleventh century or circa 1100. Marie-
Madeleine Gauthier has underscored in an unpublished pa¬
per the many common technical similarities evident in this
comparison.

The busts of Christ and saints on the Conques altar and
the Boston enamel seem also to emulate to a certain ex¬
tent the contemporary Byzantine examples of cloisonne

enameling, such as the notable Swenigorodskoi medallion
series taken from an icon in Djumati, Georgia, and now
chiefly in the Metropolitan Museum. Unlike such Byzantine
enamels, the Boston enamel has, in common with those at
Conques, a distinctive meandering character to its cloisonnes
reminiscent of Cleveland's Christ Medallion of the late
eighth century (cat. no. i-l). The colors of the Boston and
Conques enamels emphasize broad areas of deep lapis-blue,
a darker blue, turquoise, red, white, and occasionally green—
a color choice and combination which have a more dramatic
impact than is evident in the more elegantly patterned and
decorated Byzantine examples.

Anjou, Angers,
end of 11th century

II 10 Psalter } in Latin. Vellum, xix and 201 folios, H, 9-7/8, W* 8-1/4

inches. Amiens (Somme), Bibliotheque municipale, MS.
Lescalopier 2.

The early Romanesque art of the Midi insinuated its style
northward via the pilgrimage roads. Monuments in the
region of the Loire Valley can illustrate this. For example,
one need only look at the fresco paintings at Saint Savin, at
such architectural decorations as the Daniel Capital from
SainFAignan-sur-Cher (cat. no. m-12), and at manuscript
decoration, even as early as the three manuscripts decorated
by the same hand in Angers, of which the present manuscript
is one*

The principal decoration of the Psalter of Angers is one
conceived in gay colors—blues, oranges, yellows, and greens
—-arranged in pleated and angled planes creating shallow
envelopes of space, opened in the case of the drapery behind
the King David, or dosed like battened, corrugated stove¬
pipes in the depictions of human limbs* Sensible to cubist
constructions, we can easily savor the special staccato order
and color composition in the three miniatures by the same
artist contained in this Psalter: the portrait of David playing
h!s harp (folio 11 s verso), his four assembled musicians
(folio ll 6 )* and in the initial B containing David and
Goliath.

We can see the same style and hand in the decorations in
the Bible of the Abbey of Saint Aubin at Angers now in the

library at Angers, and in the Life of Saint Aubin, now in the
Bibliotheque Nationale. The late Jean Porcher has pointed
out that the artist was careful in the Psalter to distinguish
between the hieratic nobility of David as opposed to the
heavier humanity of his musicians. Likewise in the Life of
Saint Aubin he was careful to contrast HL the intellectual gifts
and moral authority of the Saint and the vulgarity of the
guests sitting down to a feast given to celebrate an incestuous
marriage*” 1

The Abbey of Saint Aubin in Angers, burnt to the ground
in 1032, was rebuilt a little later and undoubtedly found the
need of replacing its lost library* Abbot Gerard (1082“
1108), according to Porcher, contracted a layman named
Fulk who did many wall paintings and stained glass windows
for him. All of these are now lost. Porcher suggested that
both the above-mentioned books and the frescoes at Chateau-
Gontier, a dependency of Saint Aubin, were painted during
the abbotcy of Gerard and were in all probability also the
work of the man named Fulk, who before settling in Angers
was undoubtedly an itinerant painter.

1 Jean Porcher, Medieval French Miniatures (New York, 1959),
30.

Corbie, end of 11th century

II 11 Gospels t in Latin, Vellum, 135 folios, H. 10-7/8, W. 7-7/8 inches*

Amiens (Somme), Bibliotheque munidpale, MS. 24*

Intently preoccupied with receiving inspiration from the lion,
his apocalyptic symbol, the Saint Mark on folio 53 seems
completely consumed in a violent movement and counter-
movement of unseen forces. As if blown by a blast of wind
of hurricane force, a drapery has been entwined with the
enframing arch and the lion has been flipped upside down*
Hanging on for all he is worth to a banderole firmly grasped
in the saint's right hand, the lion is still able to shriek out
his message to the saint. The ecstatic expression and the con¬
vulsive nervous tension of the Evangelist, rhythmically un¬
derscored in the lines and pleated planes of the draperies,
seem a true and worthy heir to the emotion felt in the chat¬
tering figures of the Troyes Psalter (cat no, i-4) and the
inner turmoil of the Evangelists in the Ebbo Gospels, both
monuments of the Carolingian period. At the same time the
Saint Mark in the Corbie Gospels seems prophetic of such
great Romanesque sculptures as the trumeau figure of Jer¬
emiah at Moissac carved about 1115 and the Isaiah on a stone
abutment at the church of Souillac datable about 1120*

This internal yet visual tension is sustained even in the
other Evangelist portraits contained in this manuscript* The

Matthew on folio 15, the Luke on folio 77 verso, and the
John on folio 118 verso, while all by the same hand, em¬
phasize different kinds of movement and stress, all within
a common style* So much of what can be said of one can be
said of them all—that they were conceived by some visionary
personality, a singularly gifted artist and a draftsman of a
very high order,

Jean Porcher saw in the style of these miniatures the in¬
fluence of the Midi through the pilgrimage routes and a flow
of monks and gifts to the north. Perhaps this is seen here in
terms of the relief-like character of the Evangelists set for¬
ward from the color-washed backgrounds* Yet the nervous
tension and involvement has deeper roots in the pre-Car olin-
gian north, preserved perhaps at Corbie itself, but also
through the later productions of English monastic scriptoria
and centers on both sides of the Channel, including also the
Valley of the Meuse. Han ns Swarzenski rightly juxtaposes
the portrait of Luke in the Corbie Gospels with a portrait of
Luke painted in Liege in the second quarter of the eleventh
century which shows a similar swirling treatment of drapery
and introspective tension.

CHAPTER THREE

Monuments of
Romanesque Art and
the First Gothic Vision

First quarter 12th century

III 1 Reliquary Chasse. Copper gilt, champleve enamel on copper, semi¬
precious jewels, antique intaglios and cameo, wood core,

H. 7-11/16, W. 10-5/8, D. 4-3/8 inches. Bellac (Haute-Vienne), eglise de
Notre-Dame.

Suggesting a small architectural shrine or church, the Bellac
reliquary continues a form known in France in several
eighth-century or Merovingian chasses, such as the examples
at Saint Bonnet-A valouze or at Sens. Christian belief, symbol,
and possibly cosmology are reflected in varying ways in all
of these chasses. We are reminded of the terrestrial cube and
celestial vault of Cosmas Indicopleustes, whose Christian
Topography is preserved in a ninth-century Byzantine man¬
uscript in the Vatican (MS. Gr. 699).

However, the symbolism of the Bellac Chasse is especially
specific as pointed out by Marie-Madeleine Gauthier. It is
dominated by two large, superimposed, and centered medal¬
lions—both referring to Christ. The lower one represents
Christ Incarnate holding a cross, the symbol of his victory.
The medallion is inscribed around the edge: ihesvs xpistvs
(reversed; xp being for chr). Above in the celestial realm
is the nimbed lamb, indicating Christ’s sacrifice, carrying a
cross and a book, meaning the Word or Logos. The day of
judgment is inferred with the apocalyptic images of the four
Evangelists which flank the two medallions in the center. A
hierarchy of symbols is indicated by the varying size of the
medallions, the two in the center being the largest.

On the back of the Chasse are three smaller enamel medal¬
lions showing two guardian, confronted lions with vegetative
motifs facing a now Christian theme of two addorsed birds
nourishing themselves at the fountain or tree of life. We are
reminded of the simpler and earlier confronted lions on the
Capital from Poitiers (cat. no. n—4) and also of their prob¬
able iconographic and stylistic ancestry.

The gabled ends of the Chasse are decorated by enameled
medallions also on the terrestrial level. One, according to
Mme. Gauthier, represents the moment of Incarnation. The
inscription reads: sancta maria mater D[omi]Ni. A
repetition of the nimbed lamb, standing triumphant holding
the cross and with the book below, is found on the other end
of the Chasse. The organization of the cabochons throughout
is symbolic as seen in the suggested crosses and chrismon.
Christian dogma, embodied in enamel, metal, and semi¬
precious stone, is at once visually ordered, dramatic, mon¬
umental and yet subtle and suggestive of hierarchies, visions
and mysteries not fully nor immediately apparent.

The subject of many discussions, the Bellac Chasse has been
assigned in recent years by Mme. Gauthier to an itinerate
atelier probably working in the Limousin, but formerly at
Conques, because of the stylistic connections with several
enamels there. The earliest of these are the cloisonne plaques
of the end of the eleventh century on the Portable Altar of
Saint Foy (see cat. no. ii-9). With these there are general
similarities of scale, proportion, and color—the same blues,
greens, turquoises, and occasional whites. The Bellac plaques
are more suggestive of monumentality as shown in a compar¬
ison of the figures of Christ in the two series. However, the
lambs of the Bellac Chasse strongly indicate their patrimony
in proportion and outline in the lamb on the Portable Altar.
As suggested by Mme. Gauthier, the dating of the Bellac
Chasse depends on even closer technical and color connections
with a series of champleve enamel medallions on a large box
at Conques which were remounted for Abbe Boniface, who
died in 1118.

First quarter 12th century

III 2 End of a Reliquary Chdsse with Saint Paul. Copper gilt, champleve
enamel, and two cloisonnes to indicate the eyes, H. 9-7/8, W. 4-1 /2
inches. Dijon (Cote-d’Or), Musee des Beaux-Arts, Legs Trimolet 1878.

Saint Paul, identified from the deep blue enameled inscription
surrounding him: sactvs pavlvs apostolvs f, stands
frontally enveloped in full drapery holding a book in his left
hand while his other is upraised. Another age might have
found little appeal in the style of this plaque but to present-
day taste nurtured on Picasso and Matisse, the image of Saint
Paul has been given an abstract power and monumental pres¬
ence through a calculated and ordered use of enamel and
metal.

The thick, slightly convex enameled plaque is one piece
with the thinner frame surrounding it. The frame is deco¬
rated with a vine tendril (precursor of the late Romanesque
vermicule pattern), together with a motif which may indicate
a series of bishops’ crosiers.

This rarely noticed enamel may possibly have come from
the same workshop which produced the Chasse from Bellac
(cat. no. ill—1). A comparison with the Bellac Christ medal¬
lion makes clear the similarity in the use of the champleve
enamel, including the same colors, in the rendering of dra¬
pery folds by a series of elliptical and V-shaped divisions.
The Saint Paul is perhaps the more fully evolved in style and
technique and this may be partly so because of its slightly

larger size. The inscription for Saint Paul is similarly more
perfect and clear. The face of the apostle is very different
from Christ’s, perhaps also because of the slightly larger for¬
mat. There may be some inspiration from an insular source as
indicated by comparison with the Evangelist portraits in the
Book of Kells produced at the end of the eighth century.
However, the differences between the Saint Paul and the
Bellac Chasse are not so great as are the similarities, and both
may be the work of the same itinerate atelier working in the
Limousin but formerly at Conques. The Saint Paul plaque
may have been the end of a chasse whose general shape and
size were similar to that of the Bellac Chasse.

The first direct confrontation of the Bellac Chasse and the
Saint Paul enamel is made on the occasion of the current
exhibition, at which time this attribution may seem even more
plausible or may seem less certain. Marie-Madeleine Gauthier,
in a recent unpublished discussion of the Saint Paul, is more
inclined to localize it either in Roussillon or Catalonia, relat¬
ing it to Roussillon sculpture and to Catalonian wall paint¬
ings. She dates it toward the end of the third quarter of the
twelfth century.

Limoges, ca.1100

III 3 Sacramentary of the Cathedral of Saint-Etienne, in Latin. Vellum,

144 folios, H. 10-5/8, W. 6-1/2 inches. Paris, Bibliotheque Nationale,
MS. iat. 9438.

Eleven miniatures decorate this Sacramentary, probably made
for use in the Cathedral of Saint-Etienne in Limoges. Full-
page miniatures appear as the frontispiece illustrations for
the Canon of the Mass and the principal feast days from
Advent to Pentecost. It is one of the most important and
striking Romanesque manuscripts produced in France and
it is certainly one of the finest products of manuscript paint¬
ing in Limoges.

Emile Male saw eastern iconography reflected in the min¬
iature of Christ with the two apostles and his entry into
Jerusalem (folio 44 verso) which he related indirectly to
the sixth-century Byzantine Gospels now at Rossano. He
similarly compared the page with the Ascension (folio 84
verso) with the miniature of the same subject in a Syrian
"Rabula” Gospels also of the sixth century. Certainly the
Limoges Sacramentary could have taken a place of honor at
the Byzantine exhibition at Athens in 1964 as a prime ex¬
ample of a creative use of Byzantine iconographies and com¬
positions in medieval Europe.

Jean Portlier pointed on the other hand to the great debt
the Limoges school, and in particular this Sacramentary, owed
to the Ottonian manuscript productions as in the ' slender,
sinewy forms’* in the figures, and "'the pathos of their
attitudes.’* He traced certain details of iconography to the
Rhineland, Salzburg, Reichenau, and Ratisbon. He compared
the clavi } gold rectangles which appear frequently on the
draperies of the figures, with similar features in a Gospel

Lcctionary of the early ninth century at Bamberg Cathedral.

All these connections do not presuppose that the Sac¬
ramentary is merely an example of eclectic purpose trans¬
planted into the Limousin. On the contrary, its painted
decoration is a creative outgrowth of its own immediate
milieu. Its hot color, its vigorous, firm line, its schematic
imagery, the frieze-like and relief-like character of its figures
all have roots in the art of the region—the Aquitaine, and
the Midi to the south. These features which are combined
in every miniature of the Sacramentary give an almost strident
effect and an eerie other-worldly expressiveness. Nowhere is
this more clearly felt than in the visionary, monumental and
awesome image of Christ in Majesty, one of two brilliant
frontispieces to the Canon of the Mass (folio 58 verso). The
decorative initial pages are fully in keeping with this un¬
relenting and powerful imagery. Their gilded neurotic knots
and intertwined foliage are combined with ferocious biting
animals with a movement and force which parallels the
miniatures.

Like the Corbie Gospels (cat. no. n—11)* the Limoges
Sacramentary seems to be prophetic of what is to come. This
time the manuscript painter proclaims not only sculpture,
such as the tympanum at Mauriac of circa 1120 to 1130, but
also metalwork and enamels whose flowering in the last dec¬
ade of the twelfth century has made names like Limoges and
Grandmont famous to later generations (see cat. nos. m-30,
31, 32, 35, 36).

Languedoc, Toulouse, 111 4 Bas-relief: The Sign of the Lion and the Ram. Marble, H. 53-1/8,

ca.1110-1115 W. 26-3/4, D. 5-1/2 inches. Inscriptions: si/G/Nu[m]

/L/E/o/NIS/s/l/G/NU[m] /ARl/E/TIS /H/OC/FU/lT/ FA/CT/UM /t/
tempo/re /julii/ ce/sa/ris. Provenance: Saint Sernin, Toulouse.
Toulouse (Haute-Garonne), Musee des Augustins, Inv. 502.

Representing two seated, cross-legged women, holding either
a lion or a ram in their laps, this strange yet imposing marble
relief has long excited the interest of students of Romanesque
art. It has also been embroiled in art historical controversies,
some of them concerning the beginnings of monumental
Romanesque sculpture in Languedoc and in Spain.

Intrinsically, as sculpture, this relief is impressive for its
quality, for its organization of curvilinear and angular
rhythms, its sense of relief as opposed to background, and
its contrast of movement and repose. Perhaps most notable
is the contrast of parts of the drapery which are rendered as
great concentric ridges with those which are more ethereal
and floating in character, as in the flattened, angular pleats
enframing the lower legs and ankles. The sculpture is remark¬
able too for its contrasts of textures, of smooth, rounded
surfaces as in the massive necks and jowls, with the tight
curvilinear curls of tousled animal fur or wool. The smooth¬
ness of the polished background is interrupted by the sharp
angular cuts of the Roman capitals of the inscription.

The relief is said to have decorated the interior entryway of
the Porte de Miegeville, the portal of the south transept of the
great pilgrimage church of Saint Sernin at Toulouse. The date
of circa 1110 has been given to the tympanum with its
dramatic Ascension of Christ. Since the figures in this tym¬
panum and some of the capitals and corbels below are closely
related stylistically to the relief in the exhibition, it is reason¬
able to assume that all of these carvings may be considered
as roughly contemporary in date. The qualitative superiority
of the relief of the Sign of the Lion and the Ram over that
of the tympanum is unmistakable.

The subject of the exhibited relief, a strange if not a bizarre
one, may relate to a legend which might have been given
currency shortly before the creation of the relief itself. The
inscription possibly gives a clue to this legend, stating that
the relief was made during the time of Julius Caesar. It would
seem that the pilgrims were told that the writings of Saint
Jerome related strange occurrences which took place in Jeru¬
salem, in Rome, and in Toulouse during the time of Julius

Caesar. These occurrences anagogically referred to Christ—
the appearance of the lion and the ram (or lamb) signifying
that Christ would reappear, a terrible judge to the sinners, a
gentle benefactor to the good. The late A. Kingsley Porter
assumed that this might have been one of the attempts of the
canons of Saint Sernin to rival Santiago de Compostela, the
great church at the end of the pilgrimage road in Spain.
Porter states: ‘Tor the usual triad Compostela, Rome,
Jerusalem, is substituted the triad Toulouse, Rome, Jerusalem.
It was entirely natural that the miracle should have been
commemorated in the sculpture of Saint Sernin. The mean¬
ing was underscored by the inscriptions. ...” 1 Porter, among
many others, has assumed that the second part of the inscrip¬
tion could be translated as “Made at T[oulouse] in the time
of Julius Caesar.”

Certain stylistic and iconographic features of the relief
undoubtedly point to Hellenistic traditions, perhaps seen
through the intermediaries of Gallo-Roman stelae. Of
particular interest in this inheritance is the representation
of a figure with only a single shoe. The style of the relief has
been compared to such early sixth-century Byzantine ivories
as the Ariadne in the Cluny Museum in Paris or the similar
reliefs on the pulpit of Henry n at Aachen. Such comparisons
are especially apt when considering the smooth rounded
treatment of the full faces and the emphasis on concentric
ridges of drapery. The Toulouse relief, of course, emphasizes
these features more than the Byzantine ivories.

The Toulouse relief should also be considered within the
larger context of architectural sculpture for the churches of
the pilgrimage roads. It has been repeatedly acknowledged
that there are especially close analogies to be found in certain
parts of the Puerta de las Platerias at Santiago de Compostela,
namely the David, the Sign of the Lion, the figure of Luxuria,
and several others. All of these reliefs seem to depend on the
earlier altar reliefs, now in the ambulatory of Saint Sernin,
(Continued on page 350)

1 A. Kingsley Porter, Romanesque Sculpture of the Pilgrimage
Roads (Boston, 1923), i, 215.

Languedoc, Toulouse, III 5 Double Capital with the Wise and Foolish Virgins. Stone, H. 12-5/8,

before 1120 W. 21-5/8, D. 14-3/S inches. Provenance: Cloister of the Cathedral

of Saint Etienne, Toulouse. Toulouse (Haute-Garonne), Museedes
Augustins, Inv, 392 .

When the cloister of Saint Etienne at Toulouse, initially
pillared in 1794, was finally destroyed between 1812 and
1817, the Wise and Foolish Virgins Capital, along with
some other sculptures from the same cloister, was moved to
the Musee des Augustins. The major part of the capitals have
been lost. The extant sculptures of the cloister seem to be
contemporary with the second atelier of the church of Notre-
Dame de la Daurade and datable before 1120. A drawing
of the seventeenth century and an engraving of the eight¬
eenth century, as well as early accounts, give some idea of the
disposition and extent of the cloister.

The Capital illustrated here, actually a Double Capital,
was intended to be set upon paired columns and in turn was
surmounted by a horizontal impost block, the intermediary
support for the cloister arcade. The impost blocks preserved
from the cloister are variously carved, some with foliate
rinceaux, stylized acanthus, or three-dimensional fretwork.
The impost block associated in recent years w r itli the Wise
and Foolish Virgins Capital is carved with this fretwork.

The bride and bridegroom are seated at one end of the
Capital. They are shown as Christ, crossed -n imbed and hold¬
ing a crown, and Ecclesia triumphant with a scepter. The
bridegroom extends his left hand to the first of the five wise
virgins who are gracefully disposed, some cross-legged, along
the long side and part of the other end of the Capital. They
are ninibed, unveiled, and they bear budding scepters instead
of lamps. The foolish virgins are separated from this se¬
quence by the closed door and a budding tree, possibly a
reference to the Tree of Life. Emile Male proposed that this
Capital was a direct illustration of one of the early liturgical
dramas which elaborated upon the New Testament parable.
Joan Evans has suggested the Sponsus play from Saint
Martial at Limoges as this immediate source.

The side with the foolish virgins, as first recorded by
Meyer Schapiro, is unfinished and consequently is a rare
document which can tell us much about the carving techniques
and purposes of the sculptor and, by inference, of the carvers
of other capitals in Languedoc, as at Moissac. Schapiro stales :

'The cutting is sufficiently advanced to enable us to judge
of the composition of the figures, their relative mass, the
directions of the main lines, and the gestures. But no features
are visible. The heads are simple eggs, the hair, broad urn
striated surfaces in high relief. It is remarkable that the
shoes have been carried further than other parts of the
figures, perhaps because of their simple shape. It may be
inferred . . . that. . , the sculptor drew upon the smoothed
surface of the stone the generalized outlines of the figures
and cut away the intervals between them to establish their
full salience. The figure was not completed part by part. . .
the capital was chiseled as a whole, stage by stage, excepting
the final details, which necessarily implied some order of
succession. The background was smoothed early in the work.
In this method are implied a simple relation of salient masses
and hollows and a preconception of the capital as a decorative,
plastic whole.” 1

This plastic whole, underscored by Schapiro's analysis, is
important in relation to the other capitals, the columns, and
the architecture of the entire original cloister. The clustered
tubular forms and series of ovoid heads, many framed against
nimbi, in a unified yet varied rhythmic progression, reflect
the paired columns of the cloister. They become, so to speak,
a structural flower between key supporting members of the
architecture. This general decorative and expressive function
within the architectural whole is especially characteristic of
much Romanesque sculpture.

1 Meyer Schapiro, "The Romanesque Sculpture of Moissac, 11 Art

Bulletin, xm (1931), 348, fig. 128.

Provence, Avignon, ca.ll60

III 6 Capital : Scenes from the Story of Samson. Carrara marble, H. 12-1 /2,

W. (at top) 10-1/2, W. (at base) 7 inches. Provenance: from
the Cloister of the Cathedrale of Notre-Dame-des-Doms in Avignon. Cambridge
(Massachusetts), Fogg Art Museum, Meta and Paul J. Sachs Collection.

The late A. Kingsley Porter, in his discussion of the Samson
Capital, stated that Pope Hadrian iv wrote to the canons of
Pisa in 1156, commending the brothers of Saint-Ruf of
Avignon who were traveling to Carrara for marble for their
cloister. The Samson Capital and several other capitals from
the Cloister of the Cathedrale Notre-Dame-des-Doms were
also carved in Carrara marble, perhaps taken from the same
shipment sent back for the cloister of Saint-Ruf. Kenneth
Conant has dated the Cathedral in the general period of circa
1140 to 1160. The chapter house was mentioned for the
first time in 1153, possibly having been just completed. The
cloister may have been begun by then, but the capitals, in¬
cluding the Samson Capital, were obviously carved after the
arrival of the Carrara marble.

The cloister was partially dismantled in the seventeenth
century; the remainder met near-oblivion at the time of the
Revolution. The several preserved elements and fragments
are housed today in the Musee Calvet, the Louvre, and the
Fogg Museum. The Samson Capital is without doubt the
finest and most interesting remnant of the group.

The four faces illustrate Samson wrestling with the lion,
Samson carrying off the Gates of Gaza, Delilah cutting off
Samson’s hair, and Samson and the Philistines. Each of these
scenes is depicted with vivid imagery and an eye to essentials.
Each is compactly composed and is bracketed by an arch above
and a pearled border below. Each is given movement in terms
of mass, planes, and line. The suspended architectural ex¬
cerpts, familiar since eleventh-century manuscripts, help tell
the story. A balcony is provided for the crowded Philistines;
foliated spandrels are given as a setting for Samson’s struggle
with the lion. The sense of scale, as indicated by the guilloche
pattern, the pearled borders, the imitation ashlar mansonry,
and the arcaded turrets, is restricted and almost delicate. The
surface is rich in the play of light and dark, partly as the
result of the liberal use of the drill. Yet there is a sense of
monumentality in the figure of Samson, especially in the
scene where he is battling the lion. There is also a certain
psychological fervor expressed in the inclined head and in¬
tent gaze of this same figure of Samson. Hieronymus Bosch
would have approved of the evil grimaces on two of the
assistants to Delilah.

Burgundy, Citeaux,
beginning of 12 th century

III 7 Moralia in Job, by Saint Gregory, vol. I, in Latin. Vellum, 93 folios,

H, 13-7/8, W. 9-1/2 inches. Dijon (Cote-d'Or), Bibliotheque
muniripale, MS. 168.

Dijon MS. 168-170 presents books I through xvi of Saint
Gregory's Moralia in Job, According to the colophon at the
end of the third volume, the decoration and script were com¬
pleted in 1111 at Citeaux under the rule of Stephen Harding,
a former English monk from Sherborne who was abbot at
Citeaux from 1109 to 1133. A fourth volume (Dijon MS.
173) of different format but with similar decoration was
added a little later. As a whole the Moralia in Job contains
the diverse modes of decoration observable in another work,
a four-volume Bible, also made under Stephen Harding's
rule. It is believed that the abbot himself may have completed
a number of the decorations in both the Moralia and the
Bible, The remainder were completed by the monks at
Qteaux, some of them also being English. Harding's pres¬
ence at Citeaux and these manuscripts demonstrate another
instance of the importation of English styles and pictorial
peculiarities into France, An earlier occasion was observed
at Saint Omer (see cat. no. n—1),

Some of the most appealing decorations are the pen-drawn
initials with light wash-like coloring which are made with
great ingenuity, humor, and sometimes irony. These initials
are constructed with human figures whose limbs and bodies
form the salient parts of each initial. The observations of
nature, the sense for gentle caricature, the expressive linear
character of these initials owe a great deal to English manu¬
script developments. On the other hand these features are
reinvigorated on very fertile soil, especially considering the
French tradition of lnhabitied initials dating back to those
of the late eighth century at Corbie.

The frontispiece of the first volume, beginning a letter
from Gregory to Leandro, Bishop of Seville, presents one of
these initials in a more formal context and fully painted
manner. Here we may note a certain gigantism, referred to
by Carl NordenfaJk. The great R of Reverentissimo, made
up of two superimposed figures battling with two entwined

dragons, is framed in an English type of trellised acanthus.
The colors of this great frontispiece page are clear and strik¬
ing. The imagery is vigorous and full of movement.

There is fantasy here combined with certain naturalistic
details. The lower figure crouches, legs spread apart, under
the weight of the figure above. The smaller dragon dings
onto the neck of the larger one in a squirrel-like fashion as
he bites the shield of the larger figure.

The combatants are modeled in shades of the color of the
respective areas. This shading gives them a relief character.
Repeated concentric ridges of the pleats of drapery set in
motion a rhythmic force which pervades the whole ensemble.
There is a dose analogy in this rhythmic yet excerpted three-
dimensionality in the architectural sculpture of the period,
as evident, for example, in the Quny Saint Peter and the
Autun Angel (cat. nos, in-8, 10).

Other decorations of the exhibited volume are more char¬
acteristic of the tinted drawings, as they are not given the
same degree of finish, and are therefore not so grandiose.
These include the scene of Saint Gregory kneeling and pre¬
senting his work to Bishop Leandro (folio 5) and a portrait
of Job (folio 7).

One of the paradoxes of the Middle Ages is the produc¬
tion of such magnificently decorated manuscripts at Citeaux
and later at Pontigny, both Cistercian monasteries. One of
the most famous Cistercians was Saint Bernard of Clairvaux
(1091-1153), who exerted enormous influence for church
reforms. Bernard was especially outspoken against the luxu¬
rious and costly church furnishings and decorations which
he found distracting and of little use. Bernard queried:

' Why lavish bright hues upon that which must needs be
trodden under foot? .. . what are such things as these to you
poor men, you monks, you spiritual folk?” 1

1 Elizabeth G. Holt, A Documentary History of Art } I (New York,
1957), p. 21.

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'f isccjothn J (1/f:tV sn.'cm Iff ’uf yln
_ (rt t x/Jiviti on em (i(>n '/,*[, ,

eTjSM

VlFJRT lernim
JbffcOEPO -' f
NemGAfKL

15ERTVS

“^SERVORV 1)1

Burgundy, Cluny, ca.l 109-1115.
Sculptural fragments
from main portal of
third Abbey at Cluny

111 8 Saint Peter . Limestone, with traces of gesso and paint, H. 28-1/2

inches. Provenance: Probably from the north spandrel. Providence,
Museum of Art, Rhode Island School of Design, 20,254.

Ill 9 Figure . Limestone, FL 6-3/4 inches. Provenance: From a capital on

the north jamb. Cluny (Soane-et-Loire), Musee Ochier.

Each century has its wanton destructions; no nation has been
immune from them. The nineteenth century and France
were no exceptions. At the head of the list among the losses
was the appalling demolition of 1798-1823 of nearly ail of
the great third church at Cluny, the abbey of Hugh of Semur,
Abbot from 1049 to 1109. All that remain today arc the south
arm of the transept and the elements and sculptural frag¬
ments preserved in museums. Yet through the persistent
efforts of Kenneth J. Conant and Iris associates, working
since 1928 under the auspices of the Medieval Academy of
America, it has been possible to recreate intellectually what
has been lost and near oblivion. By means of excavations,
reconstructions, plans, models, and renewed searches through
archives and old records, we can now ascertain much of the
scope, grandeur, and program of this lost edifice and under¬
stand its extremely influential role in the architectural devel¬
opments even beyond its native Burgundy.

Two great sculptural ensembles within Cluny ill are now
known, where formerly there had been only one—the fa¬
mous eight large capitals from the sanctuary, datable between
1088 and 1095 and the chief treasures today of the Musee
Ochier. The second group is the sculptures of the main
portal, whose reconstruction by Professor Conant and Helen
Klemschmidt depends upon excavated fragments and an
analysis of early descriptions and old engravings. This portal,
carved some fifteen or twenty years later than the sanctuary
capitals, was also one of the key elements in the conception
of the third abbey, even though it was begun and completed
after Abbot Hugh's death in 1109 under his successor
Pontius, Abbot from 1109 to 1122, The portal was dom¬
inated by a tympanum with Christ in a mandorla surrounded
by angels, the symbols of the Evangelists, and the Elders of
the Apocalypse. Below on the lintel were the figures of the
Virgin, Apostles, and Elders flanked by scenes of the Marys
at the Tomb, the Harrowing of Hell, and the Ascension.
The spandrels contained four of the apostles. Since the
church was dedicated to Saints Peter and Paul, these two
apostles were probably so given a place of honor, Saint Peter

in the north spandrel at the right hand of the Christ in
Majesty below. Two fragments from this great portal are
in the exhibition, the Saint Peter with his key from the north
spandrel and the smaller piece from a capital in the north
jamb below.

The Saint Peter fragment, in the collection of the Museum
of the Rhode Island School of Design since 1920, was conclu¬
sively identified by Miss Klemschmidt in 1947. Most of the
upper half of the full-length figure of the Saint is preserved.
The Saint was originally about five feet tall. He was turned
inward toward the central axis of the portal. His left arm
and hand, now lost, presumably were carved in low relief in
the background of the block of which the entire figure was
cut and which has also disappeared. The original placement
of this figure was forty-five feet above the pavement Miss
Klemschmidt has suggested that the Saint Peter was carved
by the same sculptor who did the large heads of the elders
in the fourth archivolt below.

The capital fragment from the Musee Ochier is the upper
part of a seated figure holding a book. It was once perhaps
part of the only figured capital of the portal, a capital said
to have five such figures according to Professor Conant.

Fragments such as this should be appreciated for both
their inherent qualities and their relationship to the larger
whole. Without a grasp of the larger context, which in the
present case is archaeological, there is danger of absurd aes¬
thetic judgments and irrelevant palaver. The larger context
explains the point of view from which the exhibited frag¬
ments were seen and it tells us something of what they as
fragments have lost.

Yet the fragments in turn suggest something of the orig¬
inal magnificence and clarity of the entire portal. In their
details they embody a system of modeling of nearly three-
dimensional figures in terms of planes accented by linear
divisions, often grouped in a roughly concentric fashion sug-
(Continued on page 351)

. f

Burgundy, Autun, ca.1130, III 10 Voussoir Figure of a Censing Angel. Limestone, H. 23, W. 16-1/2

by Gislebertus inches. Provenance: Portal of the north transept door of Saint Lazare

at Autun. New York, The Metropolitan Museum of Art, Cloisters Collection,
Purchase, 47.101.16.

Gislebertus, the sculptor who signed the great west tym¬
panum of the Cathedral of Saint Lazare at Autun, undoubt¬
edly did most of the sculptural work throughout the rest of
the church as recently demonstrated by Denis Grivot and
George Zarnecki. We can assume with good reason that
Gislebertus carved this exquisite fragment or voussoir taken
from the mutilated doorway to the north transept of the
same cathedral. Other fragments are preserved, the best
known being the incomparable and languid nude figure of
Eve depicted at the moment of her temptation and fall. This
figure, formerly part of the lintel, the Angel Voussoir, and
several other fragments all owe their dispersal to the enlarge¬
ment in 1766 of the north doorway, the principal entrance
to the church.

Despite its fragmentary character, the Angel Voussoir is
to be valued for the unique glimpse it gives of Gislebertus’
subtle art. He has presented an elongated, graceful figure of
an angel, perhaps holding a censer, completely suspended
in space, poised in movement yet responsive to some unseen
force. At least one of his wings pushes downward against
this force as if it were uprushing air, whereas the draperies
about the feet are caught up in it. The figure has been given
a certain three-dimensionality without betraying its role as
relief. It is enveloped in a rhythm of repeated concentric

curves of the multiple pleats, accented and varied by the
beaded borders. Gislebertus has made stone light and airy;
he has given us a vision of an angel of great elegance and
beauty. A poem in stone, this portion of the fabric of Saint
Lazare allows us to contemplate Gislebertus’ mastery in one
of its less harsh and more exquisite moments. While Gisle¬
bertus seemed to owe a debt to his.probable early training at
Cluny, the Angel, as a mature work, shows that he has be¬
gun to express an extraordinary freedom which culminated
in his signed work over the west portal.

The movement of the human figure, its vibrant qualities,
and its responsiveness to emotional and spiritual forces have
already been observed in varying ways in several earlier works
of art—for example in the Carolingian Psalter, or in the
late eleventh-century Corbie Gospels (cat. nos. 1-4, ii-ll).
To these can be added the Angel, who waves his purifying
censer towards the multiple subjects of the tympanum which
it helped to frame, a tympanum which we know included
at least the Assumption of the Virgin and the Raising of
Lazarus. 1

1 Denis Grivot and George Zarnecki, Gislebertus, Sculptor of
Autun (New York, 1961), p. 146: 'The object held by the
angel, which Terret took to be a musical instrument, is probably
a censer.”

Burgundy, Vezelay, ca.1140

III 11 Engaged Capital: The Feast of Belshazzar (Daniel 5: 1-5). Stone,
H. 26-3/4, W. 15-3/4, D. 15-3/4 inches. Provenance: Tribune of the
narthex, L’eglise de la Madeleine. Vezelay (Yonne), Musee lapidaire de
l’eglise de la Madeleine.

The scene of the grandiose feast of Belshazzar from the
Biblical story of Daniel is reduced to its barest essentials
in the Vezelay Capital. The Babylonian monarch, designated
by his royal mantle and crown (now damaged), is seated at
the banquet table flanked by only two members of his court.
One of these table companions turns slightly to point out
the phantom hand appearing from the clouds and writing
with its Anger on the center arch of the enframing arcade.
In accordance with the twelfth-century writer, Rupert of
Deutz, and the modern interpretation of Abbe Terret, this
prelude to the fall of Babylon may be read as a preflguration
of the destruction of the city of the devil, which would occur
on the day of judgment.

The original position for this Engaged Capital was against
a pier on the south side of the tribune level of the narthex of
the great pilgrimage church at Vezelay. It was not far from
the large central portal to the nave of the church itself. This
portal, datable circa 1122, has been unforgettable to gener¬
ations of medieval and modern pilgrims alike for its great
tympanum with its monumental Christ, one of the flnest
tympanum sculptures of the Romanesque period. Lacking
the grandeur of this larger relief, the Capital is to be treas¬
ured for its more intimate character, clear narrative purpose,
and unified composition. The simplified details of architec¬
ture, costume, and appointments of the table each play an
important role in this modest drama. The relief is composed
especially by means of repeated curves. A rhythmic beat set
in the triple arches is picked up in the repeated concentric
pleats on the torsos and the curves in the opposite direction
made by the folds of the table cover and the draperies about

the legs seen below. The table itself, echoing these curves
on a larger scale, follows the contour of the Capital at its
lower edge. This "table curve" also serves to gird together
all of the vertical and angular elements of the composition,
legs, torsos, arms, and columns. Such a compositional use
of a table in a narrative relief is not unique. It can be
observed in other Romanesque capitals, as in the roughly
contemporary capital with the Last Supper at Issoire. Notably
it is not used in the capital showing the Feast of the Rich
Man carved on one of the nave capitals at Vezelay.

The story of Daniel was the subject of a mid-twelfth-
century musical play written at Beauvais for use during the
Christmas season. This was a liturgical drama and, according
to Margaret B. Freeman, there is some certainty that it was
performed "as part of the liturgy for Matins, the Office cele¬
brated a few hours after midnight which concluded with
Te Deum” as does also the Play of Daniel . l The play was
revived for the first time in 1958 in a brilliant production
by the New York Pro Musica at the Cloisters in New York.
The scene depicted in the Vezelay Capital came to life in
terms of actual movement, music, and pageantry in this re¬
vival. Another episode in the story of Daniel is presented
in the Cleveland Museum’s Capital (cat. no. m-12). The
popularity of the Daniel story in mid-twelfth-century French
architectural decoration may have been due in part to such
liturgical dramas as the Beauvais Play of Daniel.

1 Margaret B. Freeman, The Play of Daniel at the Cloisters (Decca
Records, n.d.), p. 12.

Basin of the Loire,
mid-12 th century

III 12 Engaged Capital: Daniel in the Lions' Den . Limestone, H. 29,

W. 25-1/2,13, 14-3/8 inches. The Cleveland Museum of Art,
Purchase from the J. H. Wade Fund, 62.247.

The portion of the Daniel story in which the prophet is
thrown into the lions' den was particularly popular in the
sculptural decoration of French Romanesque churches. Sev¬
eral quite different konographieal variations have been iso¬
lated by Rosalie B. Green2 Most of these are symmetrically
and frontally organized and non-narrative in character. Very
few examples continue the Early Christian representation as
youthful, standing orant figure/* More often than not,
Daniel is shown as an older, bearded man. The poses he
takes vary—-sometimes he is shown as a seated orant, as in
the capital from the Cloister of La Daurade in Toulouse, On
other occasions he is shown seated in a meditative pose rest¬
ing his head on his hand, as in the example full of pathos
which is at the base of the portal of Saint-Trophime at Arles,
In a third variation, he is represented as a triumphant seated
prophet, raising only one hand and holding a book in the
other. A choir capital at Soulac (Gironde) and the Cleveland
Capital are examples.

Dr. Green has also pointed out that in actuality there are
two Daniel stories, one which appears in the Bible, in Daniel
6:1-23, and the other, Bel and the Dragon, 23-40 in the
Apocrypha. Whereas the two stories differ in details, the
tendency of the Romanesque sculptors was to treat them as
one, taking unique elements from both stories and combin¬
ing them in a single composition. The Cleveland Capital
seems to agree with the Biblical account in presenting Daniel
with the lions and the angel who came to shut the lions’
mouths. The angel is shown above Daniel to his left. An
interior place is suggested by the suspended architectural
excerpts. The prophet Habakkuk who came with food ac¬
cording to the other version is not shown. Yet this second
story specified seven lions, a detail upon which the Bible was
vague. There are seven lions on the Cleveland Capital. Three
face forward on each side. The seventh on Daniels right
faces the back of the Capital,

1 Rosalie B. Green, Daniel in the Lions 9 Den as an Example of
Romanesque Typology (Ph.D. thesis, University of Chicago,
1948),

Daniel was included in the twelfth-century Christmas Eve
Procession of Prophets f which in turn has been said to have
been "an amplification of a sixth-century sermon at the night
Office of Christmas, Because of his prophecy of the coming
of the Son of Man, Daniel was esteemed as the great an¬
nouncer of the birth of the Messiah.” 2 Thus the Cleveland
Daniel is represented simultaneously according to the con¬
flated stories of the lions" den and also as Daniel the proph-
esier.

Dr, Green has suggested that the bearded, enthroned fig¬
ure of Daniel raising his right hand and holding his book in
his left resembles the representations of Christ in Majesty
and concludes that Daniel often takes on the type of the
judging Christ, an interpretation confirmed by the early
twelfth-century writings of Rupert of Deutz. Therefore the
Daniel capitals of this type, like the Cleveland and the Soulac
examples, are important in tracing the beginnings of typol¬
ogy in medieval art.

However, the Cleveland Capital is more valuable than
such i conog rap hical considerations can allow; Its sculptural
quality raises it above the qualitative level of the bulk of the
other Daniel sculptural representations. Indeed, because of
its imposing size, the convincing mass and the ferocious ani¬
mation of the lions, the fanciful but com positionally im¬
portant architectural canopy, and the nobility of the figure
of Daniel himself, conceived in terms of the rhythmic organ¬
ization of drapery folds echoed in the curls of the hair and
beard, we find that we have here a capital which can be
compared with the best sculptured capitals of any subject
dating in the second and third quarters of the twelfth cen¬
tury. The probable date for the Cleveland work must be
based on such stylistic analogies. A date in the middle of
this century seems most likely.

There are two possible origins for this Capital, both in
the central Loire area. The first has been proposed by Dr.
(Continued on page 352)

- R ember t Weak land. The Play of Daniel } the Music of the Play
(Decca Records, n.ch), p. 4.

Ile-de-France,
Saint-Denis, ca. 1140

III 13 Chalice of Abbot Sager of Saint-Denis. Sardonyx (agate), gold,
silver gilt, gems, and pearls, H. 7-17/32 inches. Provenance:
Treasury of the Abbey of Saint-Denis (until 1793). Washington, D. C,
National Gallery of Art, Widener Collection,

"Also, with the devotion due to the blessed Denis, we ac¬
quired vessels of gold as well as of precious stones for the
service of the Table of God, in addition to those which the
kings of the Franks and those devoted to the church had
donated for this service.... We . .. procured ... a precious
chalice out of one solid sardonyx, which [word] derives from
'sardius' and onyx; in which one [stone] the sard’s red
hue, by varying its property, so strongly contrasts with the
blackness of the onyx that one property seems to be bent on
trespassing upon the other." 1 So wrote Suger, Abbot of the
Royal Abbey of Saint-Denis from 1122 to 1151. Surely we
can marvel as he did at the beauty of this single piece of
sardonyx cut and externally fluted in Roman times with the
sole aim of bringing out the dazzling movement of the sev¬
eral hues caught within it.

Suger's whole being was devoted to glorifying his church
and his king, and so he had the sardonyx cup mounted in
silver and gold with precious jewels and pearls so that it
could be used in the Mass within the Royal Abbey. We might
wonder how much of the design of this magnificent adapta¬
tion was his own command.

Certainly Suger s Chalice demonstrates a respect for By¬
zantine tradition. Its over-all shape and proportion are similar
to Byzantine chalices made in the previous two centuries in
Constantinople. Byzantine work had long been admired In
the West. The most spectacular assemblage and taste for
Byzantine objects in the West is at Saint Mark's In Venice,
and this came as a result of the sack of Constantinople in
1204. Within this group are numerous chalices, and there
are several of the tenth and eleventh century date which are
especially comparable to Suger’s Chalice with its silver-gilt
conical foot, graced with busts of holy persons and sur¬
mounted by a knob, a bowl of semi-precious stone, and a
rim of silver gilt. Even the one remaining medallion bust,
that of Christ as the Pantocrater, is Byzantine in inspiration.

1 Suger, De Rebus in administrdtwne sua gestis, translated by
Erwin Panofsky in Abbot Suger on the Abbey Church of St.-
Denis and its Art Treasures (Princeton: Princeton University
Press, 1946), pp, 77, 79.

Comparison with the Byzantine chalices, however, does
not in any way diminish our appreciation of the exquisite
mastery and distinctive perfection of form and detail which
are evident in Suger’s Chalice. Each medallion of the foot
is set amidst filigree volutes of double-notched wire and four
gems or pearls making a cross. Large gems, alternating with
smaller ones on the massive knob, are also enframed by
similar filigree work. The transition from the knob itself
to the foot and also upward to the sardonyx bowl is made
by a ring of pearls set high in bezels. The bowl is bracketed
between two graceful, tapered handles, incised with a styl¬
ized acanthus and studded with gems and pearls. Func¬
tional in several other ways, these handles both protect the
cup and hold the upper rim or lip to it. This rim again com¬
bines a sequence of gems surrounded by filigree. Each of the
gems is separated from the next by paired pearls.

There are three other objects which are stylistically related
to the Suger Chalice and were also formerly In the treasury
at Saint-Denis, Two of these are partially described by Suger
himself. The first is the rock-crystal vase given by Eleanor
of Aquitaine to her then-husband, King Louis vn, who in
turn presented it to Abbot Suger for the Abbey. The second
was a sardonyx ewer. Both objects, now in the Gal eric
d 1 Apollon in the Louvre, have the silver-gilt mounts with
gems, pearls, and filigree ordered by Suger. The handle of
the ewer is related to those of the Chalice, The rim of the
ewer and one band of the base of the Eleanor vase are
mounted with gems set off by paired pearls and filigree in a
manner similar to that in the Chalice, The ensemble of an
encrusted silver-gilt and gem setting for an antique container
is a concept which they hold in common. All of these features
are found in a third object—a scalloped agate oval bowl or
nef in sardonyx with related silver-gilt mounts and now in
the Bibliotheque Nationalc. Small paired cloisonne enamels
replace the paired pearls in setting off the large gems. Al¬
though the nef appears in Felibien’s engraving of 1706 of
the fourth armoire in the Saint-Denis treasury along with
(Continued on page 353)

Ile-de-France, ca.l 140-1155.
Sculptures from Royal Abbey
of Saint-Denis

III 14 Head of an Old Testament King. Limestone, H. 13-3/4, W, (of
crown) 8 inches. Provenance: Jamb of one of the portals of the
facade of Saint-Denis. Baltimore, The Walters Art Gallery, 27.22,

III 15 Column Figure of an Old Testament King . Limestone, LL 46 inches.

Provenance: Cloister of Saint-Denis, New York, The Metropolitan
Museum of Art, Pulitzer Bequest, 20.157,

According to Dom Bernard de Montfaucon, the three facade
portals of the Royal Abbey of Saint-Denis were decorated
on their jambs by a series of columnar figures including a
total of sixteen "kings"' and four "queens.'’ Montfaucon's
invaluable drawings and the engravings published from
them in 1729 preserve some idea of what these sculptures
looked like, as all trace of them disappeared during the
French Revolution and the restorations which followed in
the early nineteenth century. Marvin C. Ross was the first
to convincingly identify the two monumental heads in the
Walters Art Gallery and a third in the Fogg Museum with
three of the figures represented by Montfaucon, an identifi¬
cation now universally accepted.

Saint-Denis became the church of Abbot Suger, who was
advisor to Louis vi and Louis vn, Suger completely rebuilt
the church and in so doing initiated important architectural
features characteristic of the Gothic style and indeed ushered
in the Gothic style. He brought many artists from far and
wide to work on the various projects for the greater glory of
God, his Abbey, and the monarchy. His love of the precious
and exotic can be seen in his Chalice (cat. no. iu-13). The
importance he gave to the great facade as an entry not only
for kings but for all who came to worship can be understood
in the verses he wrote for the now destroyed great gilded
bronze doors:

Whoever thou art, if thou seekest to extol the glory of these
doors,

Marvel not at the gold and the expense but at the craftsman¬
ship of the work.

Bright is the noble work; but, being nobly bright, the work

Should brighten the minds, so that they may travel, through
the true lights,

To the True Light where Christ is the true door.

In what manner it be inherent in this world the golden door
defines:

The dull mind rises to truth through that which is material
And, in seeing this light, is resurrected from its former
submersion. 1

The three heads from Saint-Denis now in the United
States were originally in dose proximity to these doors—if
not part of the same portal, then dose by on the portals to
the left or right, Ross dated them just before the dedication
June 9, 1140. Marcel Aubert felt that they might have been
carved according to Sugers plan, but after his death in 1151,
perhaps as late as 1155. Suger wrote so much of his various
projects that we can hardly complain that he did not com¬
ment on his facade program including the Old Testament
kings and prophets which eventually stood for a while in
measured silence on either side of the three great entries to
the royal shrine. Perhaps the reason for his silence was that
they had not yet been carved. In any case the assemblage of
figures and the ico nographic a 1 totality of the whole facade,
making a link between Old and New Testaments, had im¬
portant ramifications, some still art-historically controversial,
in the contemporary and subsequent variations found in the
larger sequence of Gothic cathedrals.

Considered together, the two Walters heads hint at a styl¬
istic development moving from the Romanesque towards the
Gothic. They both retain the monumental, frontal, and
almost severe characteristics of the Romanesque style. The
large eyes with their settings for lead fillings to represent the
irises and pupils, as suggested by Ross, are a clearly Roman¬
esque feature. Yet within the Romanesque framework there
are nuances of modeling, as in the lips, a prelude to the de¬
velopments which are exploited by fully Gothic figures to

1 Suger, De Rebus in admin istrat tone sit a gestis, translated by Erwin
Pitnofsky in Abbot Suger on the Abbey Church of St.-Denis
and its Art Treasures (Princeton: Princeton University Press,
1946), pp.47, 49.

such an extent that they break away almost independently
from both the columns and the architecture. Claus Sluter’s
eloquent portal figures at Champmol represent the extreme
ends this development can take.

Of the two Baltimore heads, the example illustrated here
seems most predominantly Romanesque in character. It
stands, despite its terrible losses, as a reminder of an elo¬
quence of another sort. It has within its un tampered surfaces
a rhythmic order of line, texture, and plane which is expres¬
sive of a nobility and monumentality which seems to echo
even SugeFs own cadences as well as his aspirations.

Montfaucon also made drawings of three column sculp¬
tures in the Cloister of Saint-Denis. Vera K. Ostoia identified
the Column Figure lent by the Metropolitan Museum with
one of these drawings. All of the details of costume agree
between the drawing and this sculpture, the only full-length
figure preserved from the entire architectural complex of
Saint-Denis. At the time that Montfaucon made his drawing,
the sculpture was probably incorporated in the row of col¬
umns of the thirteenth-century cloister which had replaced
the early Romanesque cloister. According to Miss Ostoia,
Dom Plancher, in his Hist one de Bourgogne (1739), re¬

ferred to the statues of kings in the Saint-Denis cloister and
compared them with the portal figures of Saint Benlgne in
Dijon (see cat. no. ill—16)* From his subsequent descrip¬
tions, considered together with Montfaucon’s drawing, we
can achieve an idea of what the two other figures in the
cloister look like. Only one of these and also the Metropoli¬
tan figure are nimbed. It is not known whether these figures
were originally part of the Romanesque cloister and similar
in this respect to Cleveland’s Column Figure from the clois¬
ter at ChaIons-sur-Marne (cat. no. m-27). According to
Miss Ostoia, they also could have come from the portal lead¬
ing from the abbey to the cloister or from a connecting porch.
In style, the Column Figure from the Metropolitan Mu-
suem must be compared with the Montfaucon drawings of
the portal figures at Saint-Denis and with the Baltimore
heads. While the scale is different, there is a common denom¬
inator especially between the two works shown here, as seen
in the grooving of the hair and beard. Yet the smaller figure
is more exquisite and less monumental. His robes, in all of
the details, are treated with a precision and elegance which
recalls some of the contemporary, yet better known, Old
Testament figures on the Royal Portal at Chartres.

Burgundy, Dijon,
ca.1145 (Quarre)

III 16 Head of Saint Benigne. Stone, H. 13-3/8 inches. Provenance: Trumeau
of the central portal of the facade of the abbey church of Saint
Benigne, Dijon. Dijon ( Cote-d’Or), Musee archeologique.

The fire of 1137, which destroyed part of Dijon, necessitated
the reconstruction of the abbey church of Saint Benigne.
This reconstruction was sufficiently completed to allow the
rededication of the structure in 1147 by Pope Eugene in
in the presence of Louis vii, King of France. The principal
portal contained in its tympanum an enthroned Christ with
evangelist symbols, seraphim, and figures representing the
Church and the Synagogue. An historiated lintel was sup¬
ported below by a trumeau which had attached to it a monu¬
mental figure of Saint Benigne. Eight jamb figures, and
above, four concentric rows of figured voussoirs completed
the portal. This ensemble, destroyed in 1794, is recorded in
the engraving of Dom Urbain Plancher published in 1739.

The Head of Saint Benigne from the trumeau, shown
here, has a quiet, restrained, almost brooding power. The
features are handled simply, as seen in the lightly grooved
moustache, beard, and parted hair, in the incised edges of
the slightly swelling eyes, in the powerful brow and gently
swelling cheekbones, and in the deep grooves of the bonnet
edged with a geometric decoration. The Walters Head from
Saint-Denis (cat. no. III-14), by contrast, seems lyrical and
has less of the feeling of unrelenting mass and introspective
strength evident in the Head of Saint Benigne.

Pierre Quarre has discussed the four tympana which were
once a part of the abbey church of Saint Benigne, considering
three of them to be the products of one workshop active be¬
tween 1137 and 1147. M. Quarre related the extant products
of this workshop to sculptures produced after 1135 for
Abbot Suger at Saint-Denis, such as the stone retable found
by Sumner Crosby and the cloister figures first compared
with the Saint Benigne portal figures by Dom Plancher in
1739 (see cat. no. m-15). M. Quarre suggests the possibility
that some of the Saint-Denis sculptors came to work in
Dijon, and he dated the principal portal just prior to 1147.
This date has been questioned by Louis Grodecki; it has
been rejected by Willibald Sauerliinder and Adolf Katzen-
ellenbogen, as well as by the cataloguers of the Catbedrales

exhibition of 1962, all of whom favored a date within the
third quarter of the century.

A revealing comparison with another, smaller head from
Saint-Denis, not shown here, but with a bonnet very much
like that of Saint Benigne’s, was made in the Catbedrales
exhibition, at which time both heads were assigned the later
date. This confrontation suggested that the Saint Benigne
Head contained a more somber power, possibly an even more
archaic presence, than the Saint-Denis fragment. Returning
to the parallel comparison with the Walters fragment, here
between two heads of nearly the same size, we might well
wonder which head had precedence. This is hardly a simple
query testing our own abilities at stylistic differentiation. The
answer is crucial because it might threaten one or more as¬
sumptions in the carefully conceived views of the transition
between late Romanesque and early Gothic facade sculptural
programs including column figures and the problems of a
relative chronology. Marcel Aubert questioned the early
dating of the column figures of the facade at Saint-Denis,
of which he acknowledged the Walters Head as a fragment.
He preferred to date the destroyed ensemble of column
figures, known through Montfaucon’s drawings and the
extant heads, after Abbot Suger’s death in 1151 and as late
as 1155. Tied up with these problems is the role of the
Royal Portal at Chartres, a subject also much in debate.
Some of the difficulties arise from the fact that recorded dedi¬
cation dates are not always a firm basis for dating the com¬
pletion of the respective facade programs. Also, two vital
elements of the puzzle are missing—most of the actual and
original sculptures of the Saint-Denis portal and nearly all
of the sculptures from the principal portal of Saint Benigne.
The present confrontation of the Saint Benigne Head from
Dijon and the Saint-Denis Head from Baltimore provides
an opportunity, not only to enjoy two great artistic frag¬
ments but also to consider anew some vexing art-historical
problems.

Ile-de-France(?), ca.ll40( ?)
to end of 12th century

III 17 A Bishop. Stone with traces of paint, H. 45-1/4, W. 11, D. 10-5/8
inches. Provenance: Church of Notre-Dame-de-la-Comtale at
Bourges. Bourges (Cher), Musee du Berry.

A standing, nimbed Bishop faces frontally, blessing the on¬
looker with his right hand and holding a crosier, now broken,
in his left. His head is strongly modeled; it has a certain dry,
symmetrical, and heavy power. The Bishop’s chasuble, stole,
miter, and other accoutrements are rendered in considerable
detail and these details agree with those found on contem¬
porary bishop’s seals.

The Bishop and a companion figure of a queen are each
one piece with a flat background slab of stone which bends
forward at an angle to support the feet. Because of this and
because of the relatively small scale of the two figures, both
carved by the same artist, they could not have been jamb
sculptures for a church portal. Instead they probably were
part of a pier decoration—if separately perhaps even as tru-
meau figures—or more probably they were used against a
corner pier of a cloister in a manner similar to those at the
cloisters of Saint Trophime at Arles.

Clearly the style of the two figures has no close relation¬
ship with extant Romanesque sculptures in Bourges. Rene

Crozet has suggested that the work was done by "un atelier
septentrional” and was imported into Berry. In support of
this suggestion, we might compare the carving of the
Bishop’s head with the small heads now in the Louvre, said
to come from the voussoirs of the main west portals at Saint-
Denis. These heads, unlike the Walters Head of an Old
Testament King (cat. no. in—14), have a similar heavy, dry,
innocuous character conveyed in terms of the large bulbous
eyes, heavy brow, low forehead, flaring nose, and grooved
beard and moustache. This comparison would suggest that
the Bourges figures may not be as late as the end of the cen¬
tury, as they have been dated in recent exhibitions. Instead
they might be considered as contemporaneous to the vous-
soir heads in the Louvre, and since these seem to have come
from Saint-Denis they have been dated circa 1140. 1

1 See Marcel Aubert and Michele Beaulieu, Description raisonne
des sctilptures du moyen-age, I: Moyen age (Paris, 1950), nos.
52-55.

Ile-de-France, ca.1150

III 18 Capital Fragment with Scenes from the Story of Daniel (?). Lime¬
stone, H. 15, W. 18, D. 10 inches. Provenance: Abbey of Coulombs,
near Chartres. Kansas City (Missouri), William Rockhill Nelson Gallery of Art
and Mary Atkins Museum of Fine Arts, 55.44.

Robert Branner has proved that the Nelson Gallery half¬
capital belongs with the remaining portion in the Louvre and
that it, like the Louvre fragment, was in the vicinity of the
ruins of the Abbey of Coulombs (Eure-et-Loire) in 1863. 1
This once-complete Capital is to be considered with another
complete example and two short, twisted and decorated
columns preserved also in the Louvre. According to Profes¬
sor Branner, this ensemble was probably a part of a cloister,
now destroyed, which may have been built during the rule
of Abbot Roger (1119-1173/74).

The scenes on the divided Capital are not entirely clear,
as their full identification depends on the lost iconographic
context of the other capitals in the destroyed cloister. The
one complete capital, illustrating the Annunciation to the
Shepherds, the Birth of Christ, and the Dream of the Magi,
does not provide a clue. Dr. Branner tentatively identifies the
problematic scenes as representing part of the Daniel story.
The Nelson Gallery fragment may illustrate the dream of
Nebuchadnezzar and the episode of Daniel in the lions’ den.

This fragment is appealing not only for its exquisite carv¬
ing and surface details, but also for its dynamic movement
of nearly three-dimensional figural and animal masses set
against a shadowy background. This background moves in
itself, reflecting the undulating movement of the twisted
column which once supported the Capital in a cloister arcade.

The lions bite furiously at one another. They recall some¬
what the scale and spirit of the lions on the two capitals from
the Church of Montermoyen at Bourges (see cat. no. III-12).
They do not quite have the ferocious power of those on the
related Cleveland Daniel Capital, although the architectural
canopies in the two works should be compared. The figure
style of the Nelson Gallery fragment is sufficiently close to

1 Robert Branner, "A Romanesque Capital from Coulombs,” The

Nelson Gallery and Atkins Museum Bulletin, II (January I960),

1-6.

the general types initiated at Cluny and developed at Autun
in its repeated concentric pleats (cat. nos. in—8, 9, 10). Since
the region of Coulombs had no long local tradition in sculp¬
ture of this high quality, we may then surmise that the sculp¬
tor came from some other region, perhaps the Upper Loire
Valley in the general area of Nivernais. A comparison with
the sculptural decorations at La Charite-sur-Loire bears out
this suggested origin. Professor Branner, while pointing to
other comparisons in both Burgundy and the Loire Valley,
also suggests a comparison with the retable relief found by
Professor Crosby at Saint-Denis and datable circa 1135.
Furthermore, he sees a similarity of other details on the
Coulombs columns, including the decorative vine and acan¬
thus leaf motifs with these features at Saint-Denis. Dr. Bran¬
ner postulates that the sculptors of the preserved Coulombs
cloister fragments may have been among the many artists
drawn from other parts of France to work for Abbot Suger
at Saint-Denis, possibly in a subsidiary capacity. On the com¬
pletion of their projects for Suger, they may have been en¬
gaged by Abbot Roger of Coulombs to work on his cloister.
Obviously the sculptor of the Nelson fragment was a gifted
artist, but also a conservative one in that he makes no refer¬
ence to the newly favored figural style evident in the great
royal portals of Saint-Denis and Chartres. He was inter¬
ested instead in both an expressive and ornamental move¬
ment of a self-involved frieze of forms set against a recessed
undulating background. We can agree with Dr. Branner
when he states: "There is no doubt that the Coulombs pieces
mark the resurgence of a Romanesque sensitivity and the
rejection of the new possibilities of form first stated at St.
Denis. The twisted columns belong to the last, speculative
phase of Romanesque style, when fantasy replaced monu¬
mentally, and when the normal rules of architectural rela¬
tionships were deliberately broken.” 2

2 Ibid., p. 5.

12th century

III 19 Fragment of a Crucifix , Gilt bronze, H, 9-7/16, W. 44/2 inches.

Provenance: La Blissiere a Soudan (Loire Atlantique) - Angers
(Maine-et-Loire), Musee archeologique Saint Jean.

One of many preserved gilt-bronze crucifixes of the Roman¬
esque period, this example, although fragmentary, is one of
the finest and most exquisite, yet monumental, of its type and
size. Its style is an international one as testified by the English
morse ivory crucifix preserved at the Gild hall Museum of
London, 1 and by several Spanish examples, including the
silver cross in the Morgan collection of the Metropolitan
Museum. 2 An especially similar, but probably Spanish, gilt-
bronze example, was sold recently from the Stoclet collec¬
tion. 3 A parallel, in line and flat enamel, can be seen in
Cleveland’s Limoges Cross (cat. no. in—31).

1 Harms Swarzenski, Monuments of Romanesque Art (Chicago,
1954), pi. 122, fig. 280.

2 Paul Thoby, Le Crucifix des Origines au Candle de Trente
(Nantes, 1959), pi. lxvii, no. 156.

3 Sotheby, Catalogue of Important Works of Art and Italian Majo¬
lica (July S, 1965), no. 12, repr.

Ile-de-France, mid-12th century

III 20 Head (formerly called Ogzer le Danois ). Stone, H. 15, W. 11 indies.

Provenance: Possibly from the Church of Saint-Faron at Meaux.
Meaux (Seine-et-Marne), Musee municipal.

Monumental and immutable, this large stone Head has an
uncertain origin. It represents the head of a monk or abbot,
as it is clearly tonsured. It is thought to have come from a
tomb figure, presumably because of the projection of stone
at the back. An alternative is that the Head may have come
from a trumeau sculpture. G. Gassies observed in 1905 a
certain resemblance with one of the two lost funerary effi¬
gies, recorded in a drawing published by Mabillon in Ada
Sanctorum . . ., v, p. 656 and formerly in the Benedictine
Abbey of Saint-Faron in Meaux. Emile Male questioned this
identification on the basis of style—the Head seemed more
archaic than the apparent date of the funerary complex of
circa 1180—and on the basis of the fact that eyes of the tomb
figures are given in the drawing as closed, whereas in the
stone Head they are shown open. The problem of the origin
of this massive sculptural fragment has not yet been resolved.

A remarkable similarity in the treatment of the hair and
nodulous beard has been observed in ancient Near Eastern
art. Particularly notable is a seeming dependence on the

Achaemenid sculptures as seen at Persepolis of circa 485-
465 B.c., an example of which can be seen in the Cleveland
Museum. This similarity is probably coincidental. However,
the conventions of the Achaemenid art may have been con¬
veyed via a succession of Near Eastern styles and their even*
tual influence on Byzantine art which in itself had an
enormous impact on the Romanesque art of Europe. Textiles
could have been a natural intermediary.

The Head is conceived simply in terms of sheer block-like
mass. This, in turn, is modified by the smooth, rounded
planes enframed by the tightly textured or grooved nodules
of the beard and curb of the tonsure. More powerful than
a Modigliani, this Head has much of the force and impact
of the ancient Celtic heads at Roquepertus. The figure of
which it was once a part must have been one of the most
imposing figures in Romanesque sculpture. Obviously the
figure it represented must have been a very important per¬
sonage, some unknown but highly revered monk or abbot.

Northeast France, III 21 Sacramentary, for use of Reims Cathedral. Vellum, 74 folios, H. 8-7/8,

perhaps Marchiennes, ca.1150 W. 5-1/2 inches. Provenance: Reims Cathedral. Chapter Library

of Beauvais Cathedral (inventories: early 15th century, no. 64; 1464, no. 11;
1750, no. 26). Baltimore, The Walters Art Gallery, W. 28.

Written for the use of the Archbishop of Reims Cathedral,
this manuscript has excited sustained interest for its textual
contents which preserve unusual and early liturgical fea¬
tures, including a very old West-Frankish rite in a coronation
formula. Many of the textual pages have suffered from
dampness and for this reason were removed shortly prior
to the sale of the best-preserved portion to Henry Walters
around 1910. This segment of the manuscript is included in
the exhibition. Fortunately, a substantial portion of the re¬
mainder has been identified and acquired by the Walters Art
Gallery, although the task of reassembling the manuscript
has not yet been undertaken. The manuscript in its entirety
is also important as a rare French Romanesque manuscript
in an American public collection.

The exhibited portion contains two full-page miniatures
illustrating Christ in Majesty with Evangelist symbols on
folio 5 and the Crucifixion with the Virgin and Saint John
on folio 6 verso. On a previous page (folio 2 verso) is a large
pseudo-monogram of two combined initials. The upright
shaft of the larger initial, the letter P, is a gilded sprouting
stem. The curved parts of the initials, continuing the gilded
band of the stem, end in animal heads. Outlined in red and
green and set against a light blue background, these gilt
initials have a certain harshness. Within them are more
lightly drawn foliate vine tendrils which fill much of the
space intervals with swirls of red and green. The feathery
effect of this foliage offsets the harshness of the gilt letters,
giving a sweet-sour effect which lends a peculiar distinction
to the animated linear grace of the ensemble.

A suggestion of iridescence and the warm palette occa¬
sionally sharpened by strident color contrasts give the two
miniatures their distinctive appeal. The harmonies and con¬
trasts of the blues, greens, salmon, orange, lavender, and
gold produce a certain earthy richness. The nearest parallel
in color relationships is the Gospels from Saint Omer of the
early eleventh century (cat. no. n-1). However, here there
is perhaps greater delicacy in the use of linear detail. Also,
the bare vellum is utilized more freely as in the torso of the
crucified Christ. Here the vellum is heightened by washes
of white and sparse strokes of green and salmon. The linear
grace of the facial features, hair, hands, and of the general
outlines reveals a certain facility and impending, but not
realized, fluidity.

While the stylistic peculiarities are specific enough to ten¬
tatively localize the manuscript’s origin at Marchiennes, as
suggested by Hanns Swarzenski, the general framework of
the compositions exemplifies the tenacity and universality of
Romanesque inventions. The miniature of the Crucifixion,
however, should be singled out for its stylistic character. De¬
spite a modest scale and a tentative internal treatment of the
draperies, the Virgin and Saint John might be compared
with certain experimental ventures in sculpture. The figures
silently attending the Crucifixion are either precursors or
contemporary parallels for two of the columnar figures at
Cambrai (see cat. no. hi— 23). While lacking their scale and
three-dimensionality, the mourning Virgin and Saint John
document in line and paint something of their elongation
and simple elegance.

Northeast France, ca.1150

III 22 Mourning Virgin from a Crucifixion Group. Gilt bronze, H. 6-1/8,
W. 1-1/2, D. 1/2 inches. Boston, Museum of Fine Arts, William
F. Warden Fund, 49.466.

A medieval Korei stands tall, noble, column-like, enveloped
in flutings and garland strands of shroud-like drapery, sol¬
emn in grief-pervaded reverie. She once stood with Saint
John at the foot of a cross. Analogous to the painted figures
on the frontispieces of missals created at such northeast
French centers as Saint Amand or Arras, this rare bronze can
also be localized in northeast France and, like the manu¬
scripts, can be dated in the middle of the twelfth century. 1
A fruition of this style can be seen in the Cleveland column
sculpture of circa 1180 from Chalons-sur-Marne (see cat.
no. in—27).

1 See Hanns Swarzenski, Monuments of Romanesque Art (Chi¬
cago, 1954), pis. 140, 141.

The origins of the columnar jamb statues on cathedral
facades in the Ile-de-France have been the subject of ex¬
tended debate. The possible sculptural influence from
Languedoc, Burgundy, and Byzantium have been studied.
Also the initial figures in illuminated manuscripts, especially
those of Citeaux in Burgundy, may have been a possible
stylistic source for the columnar statues. Against this back¬
ground must be considered a tendency in Romanesque art,
especially observable in the so-called "minor arts," which
considered the draped human figure in its primarily archi¬
tectonic features. Part of the evolution of the treatment of
the figures of the Virgin and Saint John at the Crucifixion,
as seen here or as in the Walters’ Sacramentary, follows this
interest (see cat. no. in—21).

Northeast France,

Cambrai, second half 12th century

III 23 ColumnFigure. Stone,H. 40-1/8, W. 11, D. 17-3/4inches. Prove¬
nance: Cambrai. Cambrai (Nord), Musee municipal.

This sculpture was retrieved together with two other column
figures in 1896 during the destruction of the chapel of the
hospital of Saint-Jacques-le-Mineur. One figure, a man, car¬
ries a falcon; another figure, a woman, carries a flower. The
figure shown here, also a woman, raises both arms and hands
and consequently has been called on occasion, a caryatid fig¬
ure. It is thought that these fragments might have come from
the Church of Saint-Gery-au-Mont-des-Boeufs dating from
the twelfth century but destroyed at the order of Charles v
in 1543. In 1552 the fragments were utilized in the structure
of the hospital chapel.

The columns are too broad and the figures too small to be
considered as columnar jamb figures. They must have served
functionally as heavy fenestration to a chapter house or salle
capiti/laire. Jacques Vanuxem has suggested a comparison
with the salle capittdaire of Saint-Gcorges de Boscherville.

The two figures with attributes may have reference to the
seasons or the Zodiac signs. Together they may symbolize the
month of May as at Senlis and at Notre-Dame in Paris. The
Figure shown here is more uncertain. Her head, with long

hair twisted into two long tresses, is decorated with an orna¬
mental band. The upheld hands suggest, for want of a bet¬
ter interpretation, a figure in prayer, an orant figure familiar
since the Early Christian era.

The two figures still at Cambrai have a tentative character
to their draperies which parallels very closely those of the
Virgin and St. John figures in the Walters Sacramentary
(cat. no. III-21). The present Figure by contrast is much
more imposing. The swirling drapery folds are decisively
and rhythmically ordered, and the entire figure has a move-
mental force quite independent of the column to which it
is attached. In this respect it may be compared with some of
the columnar figures in the Ile-de-France as at Etampes.
However, in its freedom and originality it has no peer. Con¬
tacts with Rhenish art have been suggested as a possible
source. The group of three columnar figures at Cambrai
must be considered in the context of other columnar figures
in the Northeast, such as the complex of examples at
Chalons-sur-Marne, which are stylistically less abstract.

Burgundy, Archdiocese of Sens, III 24 Single Leaf from a Decretum, by Gratianus. Vellum, H. 17-1/4,

possibly Abbey of Pontigny, W. 13-1/4 inches. The Cleveland Museum of Art, Purchase from

second half 12th century the J. H. Wade Fund, 54.598.

Little is known concerning the author of the Concordia Dis-
cordantium Canonum, more generally called Decretum
Gratiani, of which a portion of the text appears on both sides
of this single leaf. The author’s name was Franciscus Grati¬
anus, a monk of the Monastery of Saints Nabor and Felix in
Bologna. It is not exactly certain when he compiled the
Decretum. It did not exist prior to 1139, for it contains de¬
crees of the second Lateran Council of the same year. He
probably completed his text some time between 1140 and
1151. Gratianus died before the third Lateran Council in
1179 and his work became a foundation for the Corpus Juris
Canonica. Hastings Rashdall sums up its importance when
he states that "almost from its first publication the Decretum
sprang into the position of a recognized text-book in the
Schools and Ecclesiastical courts." 1

Both faces of the Cleveland page are divided into two
columns of text. The recto face has in its right column an
architectural index table which gives Greek alphabetical
symbols with the first words of the various canons. A large
decorated initial Q of the word qu 'tdem appears in the right
column of the verso face.

The placement of the architectural table in relation to the
surrounding text and the margins is a marvel of simplic¬
ity and restraint. The page is also remarkable for the balance
and unity within the columnar structure, whose elegant
silhouette is enhanced with subtle internal variations of acan¬
thus leaf forms, geometric patterns, and color. The textual
interrelations of the table itself are echoed, so to speak, in
the rhythmic, interlaced arches. Explosions of acanthus
leaves punctuate the terminals of this arcade. The color is
somewhat blond in emphasis, and the harmonies of salmon,
light blue, green, and tan are given accent in the use of
black outline and white highlights.

The handsome Q on the verso is composed of tightly
knotted orange bands intertwined with gray and green acan¬
thus motifs. The tail of the Q is an intertwined foliate rin-

1 Hastings Rashdall, Universities of Europe in the Middle Ages
(Oxford, 1936), p. 130.

ceaux which grows out of the main body of the letter. The
interstices of this complex letter are filled with blue, whereas
the background is a dark green. The foliate forms are given
a certain three-dimensional character with rounded stems
and fleshy leaves. The ancestry of such an initial can be
traced backward to similar initials produced a generation or
two earlier in scriptoria on both sides of the Channel, to
still earlier Winchester trellised acanthus of circa 1000, to
the foliate and inhabited initials of ninth-century Metz
manuscripts, and before that to the initials of late Mero¬
vingian manuscripts at Corbie.

Other portions of a similar or possibly the same Decretum
Gratiani manuscript may be seen in the Victoria and Albert
Museum. 2 The script, rulings, initials, decorative elements,
and color are all very similar. Three of the five large initials
in these London fragments are punctuated by animal heads.
The restriction of the decoration to such heads and the em¬
phasis on foliate and interlaced bands raises the question as
to whether this manuscript, if it is just one, was produced
in some Cistercian monastic scriptorium which might have
taken seriously the admonitions of Saint Bernard of Clair-
vaux (d. 1153) against rich and distracting decorations.

Stylistic similarities with a slightly later architectural
canon table in a Bible fragment, which in the eighteenth
century came from the Abbey of Pontigny, tentatively point
to this center near Auxerre in the Archdiocese of Sens. The
Bible fragment has been variously dated by Jean Porcher in
the second half of the twelfth to the end of the same century.
Pontigny was the Cistercian abbey which sheltered Saint
Thomas a Becket for two years after his flight from England
in 1164. The tentative attribution of the Cleveland leaf to
Pontigny is still under study and a comparison with the
manuscripts carried back to England from Pontigny and
Ste.-Colombe-les-Sens by Saint Thomas and Herbert of Bos-
ham has not yet been possible.

2 These are listed in Catalogue of Miniatures, Leaves , and Cuttings
from Illuminated Manuscripts (London, 1923), nos. 8985 B-F.

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III 25 Head of King David. Limestone, H. 11-1/4 inches. Provenance:

Portal of Saint Anne, Cathedral of Notre-Dame, Paris. New York,
The Metropolitan Museum of Art, 38-180*

The right entrance of the west facade of the Cathedral of
Notre-Dame in Paris, called the portal of Saint Anne, was
probably begun before 1170 and was contemporaneous with
the construction of the choir. Maurice de Sully, Bishop from
1160 until his death in 1196, oversaw the work* Much of
the sculpture of the portal of Saint Anne was incorporated
in the great Gothic facade of circa 1230. The portal was
seriously damaged in 1793 during the French Revolution,
at which time all of the large statues were pulled down.
Under the direction of VioIlet-le-Duc, Geoff roy-Dechaume
and his workshop attempted to reconstruct the losses follow¬
ing the now-lost drawings of Antoine Benoist which were
reproduced in the engravings published by Bernard de Mont-
faucon in 1729-

Montfaucon's engravings have been useful recently in
the work of salvage and identification of otherwise home¬
less fragments* One of the most distinguished fragments
from the Saint Anne portal, recognized and published by
James J. Rorimer in 1940, is the present Head, identified

as the Head of King David. The identification is further
buttressed by the similarity it bears with the features, hair,
and crowns of King Herod and the Magi visible on the still-
extant twelfth-century tympanum of the Saint Anne portal.
The Head of David has suffered certain obvious losses,
mostly along the central axis, the inlay of the eyes ( possibly
originally filled with lead), and the fleurons of the crown.
However, we can still appreciate the remarkable eloquence
of line and form In this Head which has in common with the
royal portal sculptures at Saint-Denis and at Chartres the
forcefulness, frontality, and solidity of Romanesque tradi¬
tion softened and made elegant by the nuances of modeling
and the beginning naturalistic tendencies of Gothic art* The
original decoration of the Saint Anne portal has been related
to the best work of the master sculptors of the Royal Portal
at Chartres. A comparison of the Head of David with some
of the heads of specific columnar figures at Chartres bears
out this assumption*

Troyes(?), ca.1160-1180

III 26 T wo Semi-Circular Plaques. Above, Elijah and the widow of

Zarephath gathering wood (Luke 4:24-27); below, the Spies of
Moses returning from the Valley of Eschol with the grapes of Canaan suspended
from a pole (Numbers 13: 23-24). Copper gilt, champleve enamel on copper,
Dianne 3-15/16 inches. Troyes (Aube), Tresor de la cathedral de
SS. Pierre et Paul.

Both enamels come from a series of nineteen plaques of
identical dimensions. Together they make a visual exegesis
of Old and New Testament subjects with repeated allusions
to the Passion and the Crucifixion. The suspended grapes of
Canaan prefigure Christ's carrying the cross and the Cruci¬
fixion, and the cut branches held by Elijah and the widow of
Zarephath suggest the cross. (Compare these branches with
the cross from Saint Julien-aux-Bois, cat. no. m-28.) Such
associations are a typical development of Romanesque typo¬
logical correlations; some of them are especially prevalent
in enamels made in the Valley of the Meuse. For example,
the carrying of the grapes of Canaan can be seen on the
well-known enameled base for the Cross of Saint Bertin, a
Mosan work, now in the Museum at Saint Omer,

The Troyes enamels, formerly attributed to the Rhineland
or to the Valley of the Meuse, are now generally considered
to be representative of Troyes workmanship under the influ¬
ence of Mosan art. Technically and stylistically they should
be compared with such Mosan works as Cleveland's own
Mosan Phylactery, datable circa 1150.

Marie-Madeleinc Gauthier has suggested that the plaques
could have been made for a rctable or frontal which might
have been intended for the Chapel of the Crucifix, founded
in 1157 at Saint Etienne, Troyes, by Henry the Liberal, The
fact that some plaques are vertically oriented and others are
horizontal, suggests a possible original arrangement in
groups of four around a central square plaque. Such an
arrangement can be seen in Mosan works, as in the quadri-
lobe of the Chasse of St. Gondulphe in the Musee royaux
d'Art et d'Histoire in Brussels. An account of the history
of the Troyes semi-circular plaques, formerly thought to
have come from the tomb of Thibaut hi, Count of Cham¬
pagne, has recently been given by Mireille Jo tt rand. This
same author has also underscored the compositional, stylis¬
tic, and iconographic features which ally the Troyes semi¬
circular enamels with the Mosan tradition but which also,
in certain respects, differentiate it as an independent and
distinctive production.

Champagne, Chalons-sur-Marne, III 27 Columnar Figure of an Apostle. Limestone, H. 38-1 /2, W. 9-1 /2,
ca.1180 Diam. (of column) 6-7/8 to 6-3/4 inches. Provenance: Neighbor¬

hood of Reims, probably Notre-Dame-en-Vaux, Chalons-sur-Marne. The
Cleveland Museum of Art, 19.38.

Two successive ateliers working on the Church of Notre-
Dame-en-Vaux at Chalons-sur-Marne have been recently
studied by Willibald Sauerlander. 1 The first of these was
active in the years following 1137 and might be regarded
as "an eastern outpost of one very specific branch of the
new Ile-de-France art," especially that found at Saint-Ger-
main-des-Pres. Professor Sauerlander suggested also that the
second atelier demonstrated an awareness of iconographic
and stylistic elements current in the 1170’s and early 1180’s
in the "Porte des Valois" of the northern transept of Saint-
Denis, the west portal at Senlis, the left portal of the facade
at Mantes, and the Saint John portal at the Cathedral of Sens.
The production of the second Chalons atelier, now entirely
dismantled and fragmented, may be seen in a number of
capitals and broken columnar figures partly discovered by
Chanoine L. Herbert in 1937 in the garden wall on the site
of the former cloister of Notre-Dame-en-Vaux. Several other
elements are in the local museum and private collections, as
well as in the Louvre.

Additional material, found during the systematic excava¬
tions at Chalons in 1963, has been initially reported by Leon
Pressouyre, whose full study, a doctoral thesis, is yet to be
published. 2 Some of the newly found fragments belong to
capitals or columnar figures known previously in a more
fragmentary state. Together the various elements, capitals,
and columnar figures originally constituted an extremely im¬
portant decorated and figured cloister complex. Pressouyre
has given us some of the tantalizing details: the measure¬
ments of the cloister were roughly 108 feet by 106 feet, and
the subjects represented on the capitals and in the columnar
figures indicate an iconographical program rich in typologi-

1 Willibald Sauerlander, "Twelfth-century Sculpture at Chalons-
sur-Marne," St//dies in Western Art, Romanesque and Gothic Art
(Princeton, 1963), pp. 119-128; Idem., "Sculpturen des 12
Jahrhunderts in Chalons-sur-Marne," Zeitschrift fur Kunstge-
schichte, xxv (1962), 97-124.

2 Leon Pressouyre, "Fouilles du cloitre de Notre-Dame-en-Vaux de
Chalons-sur-Marne," Bulletin de la Societe national des Anti-
quaires de France (1964), pp. 23-38.

cal and allegorical references. Several additional but dis¬
persed columnar figures came to light just prior to the
excavation campaign. These figures either once belonged to
the Chalons sequence or are closely related to it. In the first
category are the two columnar figures preserved at the en¬
trance to the Church at Sarry (Marne), not far from
Chalons, published by Anne Prache-Paillard. 3 Also attribu¬
table to Chalons is the Cleveland Columnar Figure of an
Apostle, identified by Sauerliinder. 4 Two partially restored
columnar figures, formerly in the Micheli collection in Paris
and now in the Meyer van der Bergh Museum in Antwerp
may fall in the second category of works closely related to
the Chalons sequence. 5

Sauerlander lias suggested that the Cleveland work, one
of the best preserved of all the columnar figures, represents
an apostle, possibly Saint John because he is beardless. In
all of the fragments and especially in the Cleveland Figure,
we can observe a remarkable plasticity and a sense of vibrant
volume beneath the draperies, indicative of a growing inde¬
pendence of the column support. Integral with this treatment
and expressive form is the use of line which emphasizes not
only the roundness of the volumes but also the sweep of
drapery over them, giving the figure a certain elegance and
richness of surface. Especially significant is the fact that the
Cleveland sculpture must have been originally polished or
(Continued on page 356)

3 Anne Prache-Paillard, "Le cloitre de Notre-Dame-en-Vaux de
Chalons-sur-Marne," Memoires de la Societe d f Agriculture,
Commerce, Sciences et Arts du departement de la Marne, lxxvii
(1962), 61-72.

4 Willibald Sauerlander, "Eine Saulenfigur aus Chalons-sur-
Marne im Museum in Cleveland (Ohio),” Pantheon, xxi (May-
June 1963), 143-148, figs. 3, 4, 6, 7.

5 Proposed by William D. Wixom in letter to Professor Sauer¬
lander on June 12, 1963; acknowledged by Pressouyre, p. 26,
n.3; See Josef de Coo, "L’ancienne collection Micheli au Musee
Mayer van den Bergh," Gazette des Beaux-Arts, lxvi, 6 Per.
(December 1965), 355, nos. 140-141: "Deux statues colonnes
en pierre, fin XI e siecle. Fran^ais, lX e siecle. M.v.d.B. no. 133
a b (fig. 23).”

Third quarter 12th century

III 28 Processional Cross. Cast bronze (cuivre jaune ), with traces of gilding,
H. 13-3/4, W. 9-1/16 inches. Saint-Julien-aux-Boix (Correze),
Chapel of Saint Pierre-es-Liens.

This Processional Cross is unusual as a rare three-dimen¬
sional example of Christ depicted on a cross whose stem and
arms represent a trunk of a tree out of which formerly grew
multiple young branches. The branches have been shown
lopped off close to the main stem. The symbolism of the
Tree of Life, the lignum vitae, forming the basis of the cross
is an old one and not unique to the present work. Its begin¬
nings may be observed in Byzantine ivories, in Ottoman art
as in Bernward’s bronze doors at Hildesheim, and in elev¬
enth- and twelfth-century manuscripts in England and
France. It can be seen on the front of the incomparable Bury
Saint Edmunds walrus ivory cross of circa 1150-1190 in the
Cloisters, New York, and on the roughly contemporary
Limoges enamel cross in the Metropolitan Museum from the
Morgan collection. All of these examples and many others
are either in relief or on a relatively flat surface being painted
or enameled. Three-dimensional examples on a small scale
are rarely seen or published. A bronze Deposition group,
assigned to Lorraine and dated circa 1130 by Hanns Swar-
zenski, shows the lignum vitae type as does also a Mosan gilt-
bronze Crucifix, formerly in the Soltykoff collection. 1 Both
of these examples are now in the Victoria and Albert Mu¬
seum.

Other distinctive peculiarities add to the interest of the
Cross from Saint-Julien-aux-Bois. Foremost of these is the
extended blessing hand of God the Father. A low relief hand
of God together with the scroll or placard at the top of the
cross is not an unusual feature. It can be seen in the Bury
Saint Edmunds cross and in a number of twelfth- and thir¬
teenth-century examples from Germany and Lower Rhine
areas; a recently acquired example may be seen at the Nelson
Gallery in Kansas City. In the Cross illustrated here, the
hand and a unique supporting arm are extended more than

1 Hanns Swarzenski, Monuments of Romanesque Art (Chicago,
1954), pi. 54, figs. 341, 342. For additional examples and bib¬
liography for the whole subject, see: W. L. Hildeburgh, "A
Medieval Bronze Pectoral Cross,” Art Bulletin, xiv (June 1932),
79-102.

an inch from the Cross itself. This arm is clothed in a long
sleeve over an undergarment shown at the wrist. The empha¬
sis given to this extended arm and hand has led Dr. Paul
Thoby to suggest it was intended as the response to the in¬
vectives of the Jews at Calvary recorded by Saint Matthew
(27:37-43).

Other unusual features include the crossed nimbus with a
pearled background, the unidentified saint holding a book at
the base of the Cross, the cabochon settings at the extremities
of the Cross, and the fact that the extended arm and hand as
well as the corpus are both cast as one piece with the vertical
arm of the Cross. The palmette open-work knob at the base
is not unusual, as it can be seen in Mosan and Lower Rhine
crosses.

All of these elements do not account for the remarkable
sculptural precision embodied in the work and its appeal as
a work of art. The figure of the Christ has combined a sense
of dignity and repose. The slightly inclined head, even with¬
out the more frequent crown, is given a certain majesty. The
details are crisp and clean, the result of excellent casting and
subsequent tooling. The parallel strands of finely drawn hair,
the nobility of the features, the supple undulations of the
beard, the harsh grooves of the ribs and swell of the stomach,
the shallow folds of the loincloth all play a part in this
clarity and subtle order. The gentle sag of Christ’s arms and
knees echoes the limp arm and blessing hand of God the
Father above. The economy of means is impressive. The
simplicity is disarming. While not imposing or monumental,
the Saint Julien-aux-Bois Cross is perhaps one of the most ap¬
pealing small bronze crosses of the Middle Ages.

The firm localization of this seemingly diminutive master¬
piece cries for the renewed deliberations of scholars and con¬
noisseurs. In the first serious publication of it, Rene Fage
attempted to place it in the Limousin and dated it in the third
quarter of the twelfth century.

100

Limousin, Limoges, ca. 1160

III 29 Head from a Columnar Figure. Limestone, H + 11-1/2, W, 7-1/16
inches. Provenance: Probably from the Romanesque Cathedral of
Limoges. Limoges (Haute-Vienne), Musee municipal.

This Head is one of two limestone heads thought to have
come from the Romanesque portal of the north crossing of
the Cathedral of Limoges, a suggestion of Jean Perrier and
Marie-Madeleine Gauthier. The two heads were found in
1850 in the foundations of a house built in the vicinity with
material from the demolished Romanesque fabric of this
Cathedral, A perforation at the base of the skulls at the
back of each head suggests that they were originally a part
of columnar figures.

Both heads express a certain dignity and quiet strength.
The Head reproduced here is especially appealing, as it has
suffered the least. The eyes are large and slightly downcast,
and their cavities were once filled with another material.
The kinky hair falls in regular clustered strands, cap-like
and ending in tight curls. The beard, carved in regular and
parallel waves, echoes and varies the texture of the hair.
The sensitive suggestion of high cheekbones and shallow
concave surface below, the strongly modeled planes and cut
lines of the brow and eyes, and the firm but fleshy lower lip

suggest that the sculptor may have been an observer of the
developments of the columnar jamb figures in the Ile-de-
France (see cat. no, hi— 14). As suggested by Pierre Pradel,
the sculptor certainly received inspiration from this source,
both in the idea of the columnar figure and in the beginning
naturalism and sensitive modeling of the head. However,
the distinctive flavor of the two Limoges heads set them
apart from the Ile-de-France. They lack the aloofness and
the feeling of objectivity in the Saint-Denis heads (see cat.
no, in—14) * The Limoges sculptor is perhaps more emotion¬
ally involved and as a result he was able to express a certain
ascetic dignity and somber, pensive strength. In this expres¬
sion and the means employed to achieve it, as in the exquisite
linear detail, we may observe a kinship with contemporary
metalwork and enamels of Limoges and its region. We need
only turn to the image of the hermit monk, Hugo Lacerta,
in the enamel plaque from Grandmont or to the image of
Christ on the Cleveland enamel cross to see a kindred expres¬
sive spirit (see cat nos. m-30, 31).

102

Limousin, ca,1189 ?

by Master of Grandmont Altar

III 30 Plaque •' Hugo Lacerta and Etienne de Aiuret. Copper gilt, charm

pleve enamel, H. 10-3/8, W. 7-1/8 inches. Provenance: Treasury of
the Abbey of Grandmont. Inscription: NIGQLASERT : parlamne tevedemuret.
Paris, Musee National des Therm es et de FHotel de Cl any.

A monk with a tau cross and a priest in a chasuble holding
a book face each other in solemn conversation under an arch
above which are the walls and towers implying, as in the
Cleveland Daniel Capital, that the scene is an interior one
(cat. no. in—12). Recently Genevieve F, Souchal in a defin¬
itive study has read the inscription as inTigg lasert: parla
am n'eteve de muret or le seigneur Hugo Lasert parle
avec le seigneur Etienne de Muret A As a result Mme. Souchal
has identified the figure of the hermit-monk as Hugo Lacerta
(d. 1137), not Etienne de Muret (d. 1124) as formerly
believed. Accordingly, Etienne de Muret, who founded the
order of Grandmont in 1076 and who w f as canonized in
1189, is shown nimbed at the right and as a priest. Hugo
is depicted wearing the earliest habit of the Grandmont
order, the only such document known.

Solemnity and dignity arc expressed in terms of color and
line. The several dominating blues of the robes and the re¬
peated lines of white and of gilded copper echo each other
in long vertical parenthesis-like rhythms. The fact that the
beards and hair of both heads are gilded and the flesh in
both is flushed rose-pink also serves to reinforce the sense of
visual reciprocation even though the physiognomies are very
different. The composition of the two figures, silhouetted
against a gilded background and set beneath a single arch
supported on two engaged columns or pilasters, suggests
that this is only one group among a series of figures under
successive arches of a larger work. Indeed a companion
plaque illustrating the Adoration of the Magi has been pre¬
served, also in the Musee de Cluny, and it reflects the same
format.

Mme. Souchal has exhaustively studied the various alter¬
natives which might have included these two plaques. She
has eliminated the possibility that they were tomb plaques

1 Genevieve F. Souchal, "Les Emaux de Grandmont au XII e
siecleT Bulletin Monumental, exx (1962), 339-337; see also
for the remainder of this study cxxi (1963), 41-64, 123-150,
219-235, 307-329; cxxn (1964), 7-35, 129-159.

or that they were once part of a large chasse. Instead she has
proposed that the two Cluny plaques were part of two cycles
on a single retable. One cycle must have illustrated the story
of Christ, possibly including Old Testament typological ref¬
erences, and the other the life of Saint Etienne de Muret.
Since Etienne de Muret is shown nimbed, the plaque could
not date well before his canonization in 1189* Mme. Souchal
demonstrates that the retable may have been part of a larger
complex of the main altar at Grandmont and she argues for
a date in the same year as the canonization of the saint-
founder of the order. She further suggests that the original
altar complex may have been paid for by the moneys given
by Henry ii Piantagenet near the end of his life and by
Henry’s legacy to the order of Grandmont following his
death eight weeks prior to the canonization of Etienne de
Muret, (Richard the Lion Hearted transmitted these latter
funds.)

The two enamel plaques from the retable must be under¬
stood not only in relation to earlier, less ambitious enamels,
but also in relation to the evolution of French twelfth-cen¬
tury art in general, its recurring borrowings from antique and
from Byzantine art, and its periodic anticipations of the
Gothic. No doubt there is a similarity with the Sacramentary
of Limoges (cat. no, ill—3) of circa 1100, and both plaques
and this manuscript have a common debt to Byzantine art.
But is there any direct connection over the span of eighty
years between these works? The expressiveness and monu-
mentality of the exhibited plaque are underscored and per¬
haps better understood in comparison with the Walters'
Sacramentary from Reims Cathedral, which appears to be
more hesitant, and the Limoges head, which seems to ex¬
press a kindred spirit (cat nos. III-21, 29).

Mme, Souchal has clearly analyzed the style of the enam-
elist who created the two Grandmont plaques and she has
given him the name ''the master of the Grandmont altar,"
although she also sees his artistry in a number of other works
including the Cleveland cross (cat, no. nr—31)-

104

Limousin, ca.1190,

by Master of Grandmont Altar

III 31 Cross. Champleve enamel and gilt copper, H. 26-3/8, W. 16-1/2

inches. Inscription on titulus : ihs xps. The Cleveland Museum of Art,
Gift of J. H. Wade, 23.1051.

The Cleveland Cross, formerly in the Spitzer collection, is
composed of five copper plaques with champleve enamel
and gilding. The figure of Christ is cross-nimbed and with¬
out a crown. Above are two busts of angels in clouds and at
the sides are the busts of the Virgin and Saint John. Below
may be seen the end of the spear used to pierce Christ’s side,
the rocks of Golgotha, the skull of Adam, and at the bottom,
Saint Peter, identified by his key. From the point of view of
completeness, condition, and style, this is the finest Limoges
enameled cross in existence.

The profile of the Cleveland Cross is especially elegant
and attenuated, and the figure of Christ is both monumental
and subtle. The stark white torso and limbs are treated
schematically against the gilded background and the blues
and greens edged with yellow of the cross-within-a-cross.
The rhythmic quality of line and the intensity of color are
exploited for both expressive and decorative ends. The head
of Christ, whose face is flushed pink and whose hair is filled
with red, is one of the most sublime and sensitive depictions
created, rivaling the finest Byzantine mosaics and enamels
from which the entire figure derives inspiration. The sche¬
matic linearism of the Cleveland Cross should be compared
with the crucified Christ depicted in the Sacramentary of
Saint Etienne at Limoges (cat. no. m-3). However, the
miniature painting has a strange, hypnotic, other-worldly
quality surprisingly foreign to the enamel’s idealized, en¬
nobled, yet sensitive image.

Genevieve Souchal has grouped this enamel, along with
several others, as the product of the same gifted hand which
she has called "Master of the Grandmont Altar” after two
enamel plaques now in the Musee de Cluny, one of which
is included in the exhibition (cat. no. m-30). It is instructive
to compare the two enamels as a means of understanding
the exquisite yet powerful manner of this artist. They are
especially similar in the use of three different blues, the

greens, yellow, white, red and rose-white flesh. An en¬
graver’s precision in both gives minute detail and heightens
the sense of richness. This can be seen in the tiny repeated
points which follow many of the exterior and interior con¬
tours.

The secure dating of the Cluny plaques makes it possible
to date the Cleveland Cross circa 1190. It was probably used
as a processional cross as were most of the enameled crosses
of its type. The wood support for the plaques is modern.
The original but lost core was decorated on the reverse by
additional enameled plaques. In the center was probably
an image of the triumphant Christ in a mandorla whose
outline is reflected in the profile of the Crucifixion plaque
on the face. Such a plaque from the reverse of a cross and by,
or close to, the Master of the Grandmont Altar is preserved
in the collection of Paul Thoby at Nantes. The extremities
of the reverse of the Cleveland Cross were no doubt deco¬
rated with the Evangelist symbols.

The earliest engravings of the Cleveland Cross show it
with a different plaque above the Crucifixion on the face.
This was an inverted nimbed angel holding a book, the sym¬
bol of Matthew. Since Spitzer was able to find the original
plaque with two angels in the correct position, as now shown,
the plaque with the symbol of Matthew was separated from
the Cross and eventually it was sold as an entirely different
item. While Spitzer’s find of the correct plaque for the face
of the Cross was a happy event, the alienation of the Mat¬
thew symbol was unfortunate in that this element must have
come originally from the reverse of the Cross where it cor¬
responded in position and dimensions with the Saint Peter
on the face. Judging from the best engraving of the alienated
plaque, it was of the same style and probably by the same
hand. Its details are nearly identical with those of the angels
on the face.

Limousin, Limoges, ca.1180-1190 III 32 Reliquary Chasse of Saint Stephen. Copper gilt, champleve and

cloisonne enamel on copper, wood core. H, 4-7/8, W. 5-7/8, D. 2-3/4
inches. Provenance: The Church of Malval (Creuse)* Inscription: savlvs
stephamvs* Gueret (Creuse), Musee archeologique.

The Chasse from Malval continues the architectural shape of
the Bellac Chasse (cat. no. in—1) with the addition of the
supporting legs at the corners* On the other hand, each of
the component copper plaques on this example forms one
whole face of the Chasse. Each plaque is bordered with a
reserve pattern of crosses diagonally placed against alternat¬
ing sections of red and black enamel* The background for the
figured plaques is decorated with a vermicule pattern which
is in reality a rinceau with palmettes. Another fine but
slightly later vermicule chasse in the Cleveland Museum
illustrates the use of this background in a very different
context with respect to both color and figure style. 1

Both plaques of the back of the Malval Chasse are deco¬
rated with a pattern of quatrefoils in enamel. The quatrefoils
and their backgrounds alternate in color on a diagonal align¬
ment, a feature which results in a very striking and pleasing
visual effect. Marie-Madeleine S* Gauthier has suggested
that the quatrefoils reflect similar motifs on antique sarcoph¬
agi in the Aquitaine* The transfer is a natural one, since
the chasses may be viewed in part as sarcophagi in miniature
for the remnants and relics of the saints.

The figured panels are the chief glory of the Malval
Chasse. The story of the martyrdom of Saint Stephen, on
the lower or terrestrial level, is vividly told in terms of in¬
tense blues, greens, and yellows with a few reds all organ¬
ized in rhythmic patterns and curvilinear movement. The
resulting configurations give visual embodiment to the story,
especially the ardor and rage of the saint’s assassins* Should
there be any doubt as to the principals of the story, the figures
of Saint Stephen and Saul are labeled. The saint looks up¬
ward to heaven as he crumples to his knees. The sloping roof
above, the celestial level, is decorated with two magnificent
angels with wings spread wide and holding a circle of yellow
and green enamel which enframes a nude white orant figure.
The scene represents the glorification of the purified soul of
the Saint.

The Malval Chasse is a valuable document as a rare early

1 William M, Mil liken, H 'A Champleve Enamel Chasse, hr cm A
Bulletin, xlii (February 1955), 19-22 ? repr. 17, 20.

108

Limoges enamel created before mass production techniques
affected a lessening of quality in many reliquaries of this size
and shape. The present Chasse is noteworthy also because
the heads were simply engraved and gilded. Separately cast
and applied heads are known in earlier examples, as in the
chasse at GimcL The applique heads became more and more
the rule. In many later works the same model was used for

1 leads applied to widely scattered chasses.

The treatment of the nude form of the soul of Saint
Stephen lacks the elegance and greatness of the Cross by the
Master of the Grandmont Altar (see cat. no. m-31). On the
other hand, the creator of this Chasse makes up for this weak¬
ness in conveying a sense of animated movement* His individ¬
ual treatment of the draperies, especially in the figure of Saul,
demonstrates his awareness of the volume of the body and
limbs. The curved lines serve to accent this volume.

We may be reminded of similar solutions in the treatment
of the draped figure in movement seen in the Limoges manu¬
scripts of circa 1100 as in the Sacramentary of the Cathedral
of Saint Etienne (cat, no, III-3) > and also the more contem¬
porary Mosan enamels and certain French stone portal sculp¬
tures. The figure of Saul should be compared with the draped
figures depicted in enamel on the foot of the Cross of Saint-
Bertin, a Mosan work of circa 1170,* Saul also might be
compared with some of the sculptures at Chalons-sur-Marne
and the left tympanum at Mantes* The draperies of the
angels supporting the soul of Saint Stephen on the Chasse
should be considered in such comparisons, including espe¬
cially the angels on the Mantes tympanum. Mosan art again
comes to mind, as in a comparison with a large Mosan enamel
plaque now in Boston which may have come from the base
of Abbot Suger’s Great Cross. 3 One cannot prove any direct
(Continued on page 358)

2 Han ns Swarzemki, Monuments of Romanesque Art (Chicago,
1954), pis. 178-179.

3 Rosalie B, Green, "Ex Unque Leonem,” De Artibus Opuscula
XL. Essays in Honor of Erwin Pan of sky (New York, 1961),
pp. 157-169.

Limousin, last quarter III 33 Reliquary-Monstrance* Copper gilt, champieve and cloisonne enamel,

12th century with additions and rock crystal, H, 9-5/16, (of foot) 2-7/8 inches. Provenance:

of 13th century Treasury of the Abbey of Grandmont; Chapel of Balesis (1575).

Saint-Sulpice-les-Feuilles (Haute Vienne), eglise.

Elongated, symmetrical, frontal, immobile, hieratic, are
words one might use in describing the winged figure of the
Reliquary from Saint-Sulpice, Yet these words are applica¬
ble to many Romanesque objects and architectural sculptures.
The distinctive characteristic of this unique figure is its ex¬
quisite sculptural, linear, and color quality within the
broader framework. The casting and chiseling of the drapery
folds, edges and borders is carried out to a perfection which
ought to revise any lingering American doubts about the
possibilities of Limousin artistry, which at its best is on the
same high level as work produced in the valleys of the Rhine
and Meuse,

The figure is organized in terms of a series of vertically
placed and inverted double-lined ellipses for folds and
drapery edges. The rhythm of these is offset by the reversed
ellipse of each of the wings, which bracket the figure with
alternating patterns and imbrications of lapis blue, turquoise,
red, and green enamel. The detailed engraving on the collar,
in the pearled edges, the diapered inner surface of the right
sleeve provide an added richness of surface. The hands,
one upraised in an attitude of prayer, and the other holding
a dosed book, do not interrupt the cylindrical compactness

of the sculpture, reminiscent of columnar jamb figures in
the Ile-de-France. The head is grave, staring out through
beaded, dark enamel eyes. There is a certain majesty com¬
bined with the exquisite detail which at once recalls a larger
and much more famous Limousin work of a similar date,
the Reliquary Bust of Saint Baudime preserved at Saint
Nectaire. The heads of the two figures should be closely
compared both frontally and in profile as they have similar
arch noses, high cheek bones, strong jaws, staring eyes, and
caps of hair whose strands end in tight ringlets.

The crystal mounts, the crystal itself, and the base of the
Saint-Sulpice Reliquary postdate by several generations the
figure of the angel which originally may have been a corner
applique figure for a large shrine or reliquary. The fact that
the wings are carefully chiseled on the backs to conform to
the enamel decoration on the front suggests that the figure
was not completely covered from the back, and if it were not
for its frontality, it would be tempting to consider it as the
angel Gabriel of the Annunciation (cf. cat no. nr-34). It
is more likely simply one angel among several, now lost,
or possibly it represents the winged man, symbol of Saint
Matthew, according to Saint John's apocalyptic vision.

110

Languedoc, Toulouse,
last quarter 12th century

III 34 Angel of the Annunciation. Marble, H. 74, W. 25-5/8, D. 10-1/4
inches. Provenance: Convent of the Cordeliers, Toulouse. Toulouse
(Haute-Garonne), Musee des Augustins, Inv. 551a.

This relief and the Virgin which completes the group were
installed in the Convent of the Cordeliers in 1210. The two
sculptures were carved somewhat earlier. Their style paral¬
lels that of the chapter-house portal figures of the Abbey of
La Daurade in Toulouse, datable circa 1180-1196. These
figures have in common a solid massiveness, heavy angular
drapery edges, converging flutings and ridges of long, tightly
drawn folds, as well as a common treatment of hair masses,
facial features, and hands. Especially comparable to the
Angel in all these respects are the Virgin and Child relief
and one of the columnar Old Testament kings, both from
La Daurade. 1 While the entire La Daurade portal sequence
and the Annunciation group may have come from one work¬
shop, the quality of the Annunciation group is greatly supe¬
rior. The Virgin and Angel must have been considered of
greater importance from the beginning because, unlike the
La Daurade pieces, they were carved in marble.

Voge and others have suggested that the La Daurade por¬
tal sculptures show a strong dependence on the stylistic
innovations utilized on the portals in the Ile-de-France. The
La Daurade sculptural group seems to remain for the most
part as merely provincial reflections, while in contrast the

1 Paul Mesple, Les sculptures romanes, Toulouse, Musee des Au¬
gustins (Paris, 1961), nos. 83, 91.

more creatively eclectic Annunciation group evokes a monu¬
mental drama and force of a very high order which in no
way betrays the earlier promise of the Languedoc tradition
(seecat. nos. in—4, 5).

The Toulouse Annunciation ensemble was apparently the
model for a similar but weaker group with the composition
reversed from the Cathedral of Lerida and now in the Mu¬
seum at Lerida, Spain. The replica, if it is a replica, is useful
in suggesting the iconography which is incomplete at Tou¬
louse because the Virgin has lost her lower legs and the base
support. The Toulouse Angel has been singled out for the
fact that he stands on a dragon who bites a leafy branch.
The Lerida Angel is similarly placed on a dragon, although
the branch seems to have been omitted. The Lerida Virgin
stands on a crouching lion. The Toulouse Virgin may have
been similarly placed. We are reminded of the vividness
with which a local Toulouse legend found embodiment in
the marble bas-relief, the Sign of the Lion and the Ram (cat.
no. hi— 4). In the Annunciation group of several genera¬
tions later we can observe a similar preoccupation in the
symbolic attributes and appeal of real and fantastic animals.
The present context suggests the triumph of the incarnation
of Christ (the lion) over the incarnation of Satan (the
dragon).

112

Limousin, Limoges, III 35 Eucharistic Coffret. Copper gilt, champleve enamel, H. 5-3/16, W. 8,

first quarter 13th century, D. 4-15/16 inches. Provenance: Treasury of the Abbey at Grandmont.

attributed to Master G. Alpais Limoges (Haute-Vienne), Musee de Limoges, Inv. 267.

The Coffret shows a reversal of the earlier system of enamel¬
ing in which enameled figures set against a gilt background
are replaced by figures in reserve chiseled in the copper
plaque, gilded, and surrounded by an enamel background.
Low relief heads, cast and tooled, are fastened with rivets.
The quality of individual enameled objects of this type varies
greatly. Certainly the present object is one of the finest ex¬
amples of enameling produced at Limoges. Furthermore, it
is nearly unique in its form—a simple box with low roof
sloping down to each of the four sides. Its decoration and
internal components, however subtle, result in an exquisite
simplicity and restraint. The four vertical faces of the terres¬
trial level are visually tied together by the rhythmic repetition
of colors, shapes, and curves, especially evident in the re¬
peated figures and mandorlas with flanking spandrels filled
with angels. This punctuated sequence is given a different
key, so to speak, on the celestial level in the roof panels with
their repeated circles with angels and foliated rinceaux.
Throughout, enameled flowers and discs maintain an over-all
pattern.

The iconographical program, relating to the Incarnation
of Christ and the triumph of the Church, results from the
Coffret’s purpose as a eucharistic container. Christ is shown
on the principal face in glory with the Virgin and Saint
Peter on either side. The Virgin is seated on a throne as
Ecclesia, and Saint Peter is shown with his keys, symbol of
the commission given him by Christ. Seated apostles with
varying physiognomies complete the series on the other faces
of the Coffret.

The Coffret’s purpose as a eucharistic receptacle, accord¬
ing to Marie-Madeleine S. Gauthier, was a direct response
to the development of the cult of the Holy Sacrament in
the twelfth century. The Coffret served to protect the conse¬
crated Host between masses and during the processions of
Palm Sunday and Easter morning. This purpose is confirmed

not only by the iconography but also by the heavy gilding
of the interior and the ring at the top from which it was hung
over the altar. While still in the Treasury of the Abbey of
Grandmont and between 1495 and 1639, the Coffret was
used as a reliquary.

The Coffret has both Romanesque and early Gothic fea¬
tures. The division of terrestrial and celestial levels derived
from Romanesque chasses is continued. The schema in its
individual units is even older than the Romanesque period,
having its roots in the Carolingian period. The frontality
and general character of the figures are Romanesque, as is
also the fact that most of the decoration emphasizes the sur¬
face plane of each side of the receptacle. On the other hand,
the actual style of the draperies, as suggested by Mme. Gau¬
thier, gives an independent illusion of volume and natural
plausibility, features of the early Gothic. This was achieved
by means of the careful cutting and burnishing of the folds
in such a way that the light catches the different rounded
planes and thus subtly gives a three-dimensional logic to each
figure. The three-dimensional illusion of the seated figures
is maintained in the careful orientation of the applied relief
heads with that of the pose of the engraved and burnished
draped body beneath.

Something of this illusion of modeling and volume can be
seen in Romanesque art, to be sure. The difference in the
Coffret is that the figures begin to emancipate themselves
from the over-all pattern and involvement. They begin to
reassert themselves as consistent entities of mass and volume
and they begin to reaffirm the illusionistic interests of the
Greek and Roman world conveyed via the intermediary in¬
spiration of Byzantine art.

Mme. Gauthier has attributed the workmanship of the
Coffret to G. Alpais, the same master who signed the
Louvre’s Ciborium from the Abbey of Montmajour.

114

Limousin, Limoges, ca. 1220—1225, III 36 Plaque from a Chasse showing the Crucifixion and the Martyrdom of
attributed to Master G. Alpais Saint Thomas Becket near the altar at Canterbury Cathedral,

and his workshop December 29,1170. Copper gilt, champleve enamel, H. 6-5/8,

W. 11-3/16 inches. The Cleveland Museum of Art,

Purchase from the J. H. Wade Fund, 51.449.

The quality of the figures on the Cleveland Plaque, the front
from a large chasse, is on a level nearly comparable to that
of the Eucharistic Coffret (cat. no. m-35). Like the Coffret,
the Plaque embodies both Romanesque and early Gothic fea¬
tures. Of particular importance in the treatment of the
draped figures is their common use of the chisel and buren in
effectively suggesting volume and plasticity. The applied
heads, of the same high quality as those on the Coffret, also
show a beginning use of naturalistic modeling. On a modest
scale these interests seem to parallel to a certain degree
early Gothic developments in sculpture in the Ile-de-France.
Specific decorative details which recur in the Cleveland
Plaque and other especially striking parallels, as in the depic¬
tion of the Virgin, suggest that the two works were produced
in the same workshop reflecting the style and inclination of
one master. Marie-Madeleine S. Gauthier has related the
Coffret to the signed Ciborium in the Louvre from the
Abbey of Montmajour. Extending this association to include
the Cleveland Plaque, the points in common, especially the
similar angels and applied heads, support an attribution of
all three to one workshop under the master, G. Alpais.

The Cleveland Plaque shows that this master and his
assistants were also gifted in depicting movement, as in the
two assailants who dash towards the dignified figure of the
Archbishop standing by the altar. The two to four knights
depicted in Limoges enameled representations of the martyr¬
dom of Saint Thomas Becket are generally shown in motion
in this way but not always with such excellence. The two
knights on the Cleveland Plaque in no way betray the French
tradition of this leaping figure type, a point borne out in
comparison both with late eleventh-century French manu¬
scripts, decorated at Toulouse, Angers, and Saint-Omer,
and with twelfth-century French frescoes, at Saint-Savin-
sur-Gartemp (Vienne) and Saint Martin at Vic (Indre). 1

1 (a) Flavius Josephus, De Bello fudaico, Toulouse, end of the
eleventh century. Bibliotheque Nationale, Paris, MS. lat. 5058,
fol. 3. Repr. Jean Porcher, Medieval French Miniatures (New
York, 1959), pi. xix.

The Cleveland enamel Plaque is also notable because it
is a rare, if not unique, example of an iconography which
postulates a symbolic parallel between the Crucifixion and the
martyrdom of Thomas Becket. Even before the Archbishop’s
death, one of his enemies figuratively suggested crucifixion
for Thomas when asked by King Henry ii Plantagenet. 2
Therefore it was not surprising when Mme. Gauthier
pointed out that at the end of the twelfth century various
texts emanating from Canterbury promulgated such a paral¬
lel. 3 Certainly, these announcements were the more profound
in purpose: Thomas in effect shared in the Passion by his
own suffering and torture just prior to the moment of death.
It is surprising that this deeper meaning had apparently no
visual embodiment in this earlier period following Thomas’s
canonization in 1173. Neither have any other examples come
to light in the more than thirty Limoges enameled chasses
(or fragments of chasses) which depict the martyrdom scene
and which were created within twenty years following the
exhumation of the Archbishop’s remains and the dispersal
of relics in 1220. 4

(b) Bible, Angers, end of the eleventh century. Bibliotheque
d’Angers, MS. no. 4. Pierre d’Herbecourt and Jean Porcher,
Anjou roman (Pierre-qui-Vire, Zodiaque, 1959), pi. 2.

(d) Frescoes, circa 1100. Church at Saint-Savin-sur-Gartemp
(Vienne). Paul-Henri Michel, Romanesque Wall Paintings in
France (Paris, 1949), pi. 42.

(e) Frescoes, second half of the twelfth century. Church of
Saint Martin, Vic (Indre). Andre Grabar and Carl Nordenfalk,
Romanesque Painting (Lausanne, 1958), p. 93 repr.

2 Thomas P. F. Hoving, "A Newly Discovered Reliquary of Saint
Thomas Becket,” Gesta, iv (December 1965), 29.

3 Marie-Madeleine S. Gauthier, unpublished statement, July 1,
1966.

‘Tancred Borenius, St. Thomas Becket in Art (London, 1932),
pp. 88-92; Marie-Madeleine S. Gauthier, Ernaux limousins
champleves XII € , Xlll e , et XlV e siecles (Paris, 1950), p. 38.

116

Ile-de-France,
ca.1180 (Sauerlander)
or ca.l 190-1195 (Bony)

III 37 Bearded Head of a Prophet (Moses?). Stone, H. 17 inches.

Provenance: Central portal of the west facade of the Collegiale
Notre-Dame de Mantes. Mantes (Seine-et-Oise), Depot de la
Collegiale Notre-Dame.

Discovered in 1852 during the demolitions in the prison at
Mantes, this monumental Head is thought to have belonged
to one of the columnar jamb figures which once ornamented
the central portal of the Collegiale Notre-Dame at Mantes. 1
Marcel Aubert compared this Head with a similar but smaller
head which he believed to have come from the west portal
of the Cathedral at Senlis (Oise) and which has been dated
1185 to 1190, prior to the dedication of 1191. Aubert saw
a dependence of the carving of the Head at Mantes upon that
of Senlis, and he dated the Mantes Head in the last decade
of the century. Aubert compared the curls over the brow and
the cascade of long locks down the back which are echoed in
the beard at the front. Certain features were given a common
emphasis in the globular eyes, the subtle differentiation of
upper and lower eyelids, and the thick, projecting lips. He
also found in both heads a reminder of the extraordinary
Romanesque figures at Souillac, Beaulieu, and Moissac.
While assuming the Mantes Head to be later than that of
Senlis, Aubert attributed to the Mantes Head a firmness of
modeling and ”une grandeur et une noblesse incompara¬
bles.” Without belittling the eloquence of the Mantes Head,
it is only fair to say that it is better preserved than the Senlis
head in question, which has suffered especially through the
pitting of the surfaces of the flesh areas. The Mantes Head
may be that of Moses, as suggested by Willibald Sauerliin-
der. 2

Wilhelm Voge, Emile Male, Marcel Aubert, and Jean
Bony have stated that the central portal at Mantes depends
on Senlis in iconography and composition of the tympanum
and archivolts. 3 Professor Bony credited the Mantes sculp¬

1 Marcel Aubert, "Tetes gothiques Senlis et de Mantes,” Bulletin
monumental, xcvn (1938), 8-9.

2 Willibald Sauerlander, "Die Marienkronungsportale von Senlis
und Mantes,” Wallraf-Richartz-Jahrbuch, xx (1958), 148 ff.,
fig. 89.

3 See Louis Grodecki, "La 'Premiere sculpture gothique' Wilhelm

Voge et l’etat actual des problems,” Bulletin monumental, cxvii

(1959), 283-284.

tural atelier, apparently the third at Mantes, with a calmness
and certain innovations in the rendering of drapery found
subsequently in the left facade portal, called the portal of
Saint John, at Sens (Yonne). 4 Bony acknowledged not only
a filiation Matites-Sens, but also filiation Senlis-Mantes and
fHiatioti Mantes-Rouen, the latter proposed earlier by Camille
Enlart.

That the cross-fertilizations of styles, compositions, and
iconographies relative to the sculptural decoration of church
portals is indeed complex is further underscored by Sauer-
lander’s observation of a dependence of the Mantes portals
on the earlier Porte des Valois at Saint-Denis. The impact
of this portal at Saint-Denis was most clearly felt on the
earliest portal at Mantes, the north side doorway of the fa¬
cade. Sauerlander also proposed a Mosan origin for the
style of the Porte des Valois and the Mantes portals. The
Mosan “influence,” a controversial point, has already been
considered anew in relation to Cleveland’s Column Figure
from Chalons-sur-Marne (cat. no. in-27). The Mantes Head
in the exhibition provides another opportunity to test this
hypothesis with many of the same comparisons.

Sauerlander also argued for an earlier dating of the
Mantes Head in keeping with the dating for the entire cen¬
tral portal which he prefers to place circa 1180. 5 Sauerlander
compared the Mantes Head with the busts in relief in the
five medallions decorating the face of a sarcophagus in the
north crossing of Saint Pierre de Lisieux. This sarcophagus
may have been made for Archbishop Arnoul de Lisieux
(1141-1181), whose humanistic taste may explain the style
of the heads and their pseudo-antique character. In these two
works, the Lisieux sarcophagus and the Mantes Head, we
may observe with Sauerlander what Henri Focillon called a
“humanisme gothique.”

4 Jean Bony, "La Collegiale de Mantes, les circonstances histo-
riques,” Congres Archeologique, civ (1946), 202.

5 Willibald Sauerlander, "Art antique et sculpture autour de 1200
Saint-Denis, Lisieux, Chartres,” Art de France, I (1961), 51,
figs. 15, 16.

118

Provence, III 38 Group of Apostles and Angels. Stone, in two pieces, H. 59-1/8,

Saint-Gilles, ca.l 183-1190 W. 20-1/8 and H. 55-1/8, W. 16-1/2 inches. Provenance: Tympanum

of the portal of the Church of Saint Martin, Saint-Gilles. Saint-Gilles (Gard),
Musee de la maison romane.

Discovered in the wall of an old house in Saint-Gilles in
October 1949, this fragmentary Relief in two adjoining sec¬
tions has great interest for the study of late Romanesque
sculpture in the Midi. The Relief apparently represents two
out of seven or eight large stone panels which constituted the
tympanum of the former church of Saint-Martin at Saint-
Gilles. This church was located not far from the famous
Abbey Church with its great Romanesque facade, whose
apostle statues of circa 1170 were signed by the sculptor P.
Brunus. Marcel Gouron has assigned the carving of the
portal for the more modest structure to a period of 1183-
1190, following the siege of Fourques mounted by the king
of Aragon and during the subsequent peace guaranteed by
Count Raymond v of Saint-Gilles, who had then reunited the
eastern parts of his domains. 1 The style of these Relief frag¬
ments, according to Gouron, who was the first to publish
them, is a complex one, representing probably two separate
ateliers working in Saint-Gilles. The first may be that of a
local atelier which reflected in a loose, generalized fashion an¬
tique drapery style. The heaviness of the folds and parallel
pleats seem to signify a local atelier which also had worked
on the draperies of the figures in the Last Supper scene on the
central portal of the Abbey Church. The heads, according to
Gouron, denote another atelier, an itinerate and more gifted
one, which also contributed to the carving in the larger sculp¬
tural program of the central portal at the Abbey Church.

The Saint-Martin tympanum undoubtedly represented the
Last Judgment, with the central figure of Christ as Judge
barely raised above the apostles gathered on either side with
their gaze transfixed by his awesome glory. Behind them were
angels bearing the instruments of the Passion which were the

1 Marcel Gouron, "Decouverte du Tympan de I’eglise Saint-Martin
a Saint-Gilles,” Annates du Midi, lxii (April 1950), 115-120;
Richard Hamann, Die Abteikircbe von St. Gilles und ihre kunst-
lerische Nachfolge (Berlin, 1955), I, 251-254, abb. 320.
Hamann dates the Relief between the reliefs at the abbey church
at Saint-Gilles and the Renunciation of Peter relief at Saint-
Guilhem, a date which he gives as before 1152.

paraphernalia and attributes of the central figure, as they are
in the Last Judgment painted centuries later by Michelangelo.
The present Relief shows two of the angels, now headless
but still bearing the nails and crown of thorns whose sacred
value is accented by the fact that they hold them outstretched
in mantle-covered hands, a detail traditional in ivories and
manuscript illuminations since Carolingian times. The two
Relief angels must have once turned towards each other, and
the powerful contrapposto movement of the angel on the left
is in contrast to the more reverent, prayerful, if astonished,
stance of the overlapped figures below. The audacious con¬
ception of the subject and the apparently splendid working
out of the compositional space make this tympanum an im¬
portant subject for study in relation to a whole series of Last
Judgment portals which characterize some of the great French
Romanesque portals in Languedoc, at Conques, in Burgundy,
and in the Ile-de-France.

Marcel Gouron has rightly emphasized the individual ex¬
pressiveness as well as the attributes of the four apostles
shown on the present Relief. The first, at the left, he identi¬
fies as Saint Paul because of his baldness, long beard, hands
rhetorically positioned, and his garments and his drapery-
slung arm suggestive of a classical orator portrait. Gouron
compares the physiognomy of the second with the Saint An¬
drew of the Lazarus tomb at Autun carved by the monk
Martin between 1170 and 1189. He relates the actual style of
this head with the possibly later sculptures at Saint-Guilhem-
le-Desert, a comparison in keeping with Richard Hamann’s
suggestion that the ateliers at Saint-Gilles influenced Saint-
Guilhem. Also, the head of the second apostle of the present
Relief can be compared with some of the Christ heads in the
portal reliefs of the Abbey Church at Saint-Gilles. The third
head, beardless and youthful, may be that of Saint John. The
fourth head, while not identified, is compared by Gouron
with the Saint Trophime figure in the cloister at Arles datable
before 1188.

(Continued on page 359)

120

CHAPTER FOUR

High Gothic Synthesis and
the New Monumental Art

Ile-de-France, Paris, ca.1200

IV 1 Head of an Apostle. Limestone, H. 17 inches. Provenance: Probably
from a jamb figure of the Judgment Portal of Notre-Dame, Paris.
Chicago, The Art Institute of Chicago, Buckingham Collection, 44.413.

That scholarly preconceptions can sometimes prevent the
rightful recognition of fragmented and dispersed monuments
is underscored by the excellent detective work of Eleanor S.
Greenhill who has not only identified the long-admired mon¬
umental Head now in Chicago, but has dramatically rescued
from scholarly oblivion two monumental torsos from the
same source, the Judgment Portal of the Cathedral of Notre-
Dame at Paris. 1 2 The blinding preconception prior to this
discovery was the late dating of this Portal in its entirety to
circa 1220 or later. Willibald Sauerlander broke away from
such a position in 1959, when he isolated what he believed
to be the earlier parts of the Portal, datable circa 1200 and
including all of the surviving sculptures below the level of
the tympanum and archivolts.- This includes the reliefs of the
Vices and Virtues on the socles of the jambs and the architec¬
tural carving of the bases, capitals, and baldachins.

The columnar jamb figures were thought to have been
entirely lost at the time of the Revolution. These figures, a
series of apostles, were recorded in part as early as circa 1500
by the Master of Saint Giles in a panel painting in Wash¬
ington and in the eighteenth century by Gabriel de Saint
Aubin. Now Dr. Greenhill has presented in the three impor¬
tant fragments a clear idea of the character and significance
of the missing apostles, the most important ensemble of the
sculptural campaign on the lower portions of the Judgment
Portal. Her study corroborates Professor Sauerliinder’s dating.

The Chicago Head of creamy tan stone is remarkable for
its “combination of Jovian loftiness and—in the furrowed
brow and sensitive, half open lips—poignant humanity,” to
quote from Dr. Greenhill. Its subtle modeling suggests an
internal life. Yet its proportions and physiognomic features

1 Eleanor S. Greenhill, 'The Provenance of a Gothic Head at the
Art Institute of Chicago,” Art Bulletin, xlviii (June 1966). The
quotations from this study were taken from Dr. Greenhill’s paper
prior to publication.

2 Willibald Sauerlander, "Die Kunstgeschichtliche Stellung der
Westportale von Notre-Dame de Paris,” Marburger fahrbuch

fur Kunstwissenschaft, vn (1959), 1-56.

are part of the reinterpretation of the antique, which has
already been noticed in the Head lent from Mantes (cat. no.
in—37). While comparing the Chicago Head to a more close¬
ly related Head from Sens, 3 also influenced by the antique,
Dr. Greenhill observes an "organic concept of the human
form: sculpturally rather than graphically rendered strands
of hair, not rendered according to the strict laws of sym¬
metry nor fitting the head tightly like a cap, but aerated; fur¬
ther, a tilting and turning which must have been accompanied
by a marked contrapposto; and transitions which are gradual
and rounded as in nature.”

Of the two monumental torsos now in Paris museums, the
one in the Musee Lapidaire of the Carnavalet is the body
for the Chicago Head, according to Dr. Greenhill. The com¬
bined evidence of this reconstituted figure, the other torso,
and the painted and graphic records from before the Revolu¬
tion all agree in the picture reconstructed by Dr. Greenhill
of the apostles as monumental, elongated figures which stood
and gestured easily, their heads turned and hung forward
or tipped back, and which were clothed with clinging,
classicistic draperies. A photograph of the Carnavalet torso
is shown in the exhibition to help clarify this analysis. Part
of the background for these figures includes the development
of the columnar figure in the Ile-de-France, in Burgundy, and
in Champagne (cat. nos. III-15, 16, 27). The torsos of the
Judgment Portal continue the columnar emphasis, but they
also now begin to free themselves from the architectural
setting, moving on their own as evident in the previously
noted contrapposto and in the fact that the Chicago Head
was originally turned to the left and hung forward, an ob¬
servation of Dr. Greenhill’s which explains its asymmetrical
peculiarities.

The revised dating of circa 1200 for the lower portions of
the Judgment Portal naturally has important ramifications
in the chronologies and conceptions of the development of
style in the first half of the thirteenth century. Sauerlander
(Continued on page 359)

3 Cathedrales (Paris: Musee du Louvre, 1962), no. 38.

124

Limousin, Limoges, IV 2 Plaque: Death of theVirgin. Gilt copper and champleve enamel,

second decade 13th century H. 10-1 /4, W. 7-7/8 inches. Inscription: regina mvndi de terris

et de. Paris, Musee du Louvre, Department des objets d’art, cat. 92.

This large Plaque displays a technique similar to that of
the Eucharistic Coffret and the Becket Plaque (cat. nos. in—
35, 36), in which the figures are chiseled, and burnished areas
of reserve copper gilt surrounded by a decorative enameled
background. Again we can observe the reflection of light on
the engraved drapery edges, features, hair, hands, books, and
tapers. We are given a plausible suggestion of a shallow
spatial ambiance in which the apostles cluster and overlap as
they press against the recumbent figure of the Virgin. The
expressive function of the engraved and burnished line is as
important here as in the Coffret or Becket Plaque, although
there is a significant stylistic difference.

The Louvre Plaque is perhaps one of the earliest examples
of the inroads of the classicistic style inspired by Byzantine
art in the Limousin. The Plaque reflects indirectly the earlier
developments in the Northeast in manuscripts, metalwork,
and enamels at the end of the twelfth century and the be¬
ginning of the thirteenth century. The work of Nicholas of
Verdun comes to mind, especially his great and famous Altar
at Klosterneuburg of before 1181. This style came to have
important ramifications in the Ile-de-France. A comparison
may be made with the sculptural decoration of the central
portal of the north transept of Chartres. The artists of these
Chartres sculptures and the enamelist have much in common.
They both depend upon, but are also a little removed from,
a more clearly classicistic, pseudo-Byzantine stylistic treat¬
ment of the bearded draped figure as seen in the works of
Nicholas of Verdun or as in the torsos from the Judgment
Portal of Notre-Dame in Paris. The Chartres sculptors and
Limoges artist give their works a firmer, less nervous model¬
ing. However, the enamelist does come especially close to a
Byzantine iconography of the Virgin which probably was
easily available to him in manuscripts, enamels, or ivories
brought from the east. In fact, if it were not for the absence
of the figure of Christ holding the Virgin’s soul, we might
surmise that the iconographical composition was copied from
a Byzantine ivory of the same subject.

Marie-Madeleine S. Gauthier has compared the style and

technique of the Louvre Plaque with two gabled plaques,
each bearing inscriptions from the Psalms and showing two
seated nimbed and crowned figures holding palms. 1 One of
these is in the Fitzwilliam Museum in Cambridge, the other
in the Kofler collection in Lucerne. The three plaques un¬
doubtedly come from the same Limousin workshop if not
from the same hand. However, certain discrepancies prevent
consideration of them as part of the same shrine or large
chasse. The gabled plaques are nearly the same height as the
Louvre Plaque, thus precluding the possibility that they were
the transept or facade ends of such a hypothetical chasse
which might have included the Louvre Plaque as one of its
walls. Also there are differences in ornamental detail, and
the gabled plaques utilize two horizontal bands in reverse
(one with the inscription) which cut across the middle of
the composition, a feature lacking from the Louvre Plaque.
However, the gabled plaques are helpful in indicating a date
for the Louvre Plaque. Mme. Gauthier suggests that, because
they include four martyred saints, the Cambridge and Lucerne
plaques may have been executed for a martyrium church in
Rome circa 1215, when Innocent in was favoring artists from
the Limousin in the Basilica of Saint Peter. 2

The Louvre Plaque should be appreciated for its own in¬
trinsic merit. Its borrowings from Byzantine art and its
debt to the classicistic movement of the Lorraine and the Ile-
de-France are creatively adapted and utilized within an in¬
digenous Limousin idiom, both with respect to technique
and to expressive and decorative features peculiar to the
Limousin. Its compositional entity is one of harmonious and
repeated rhythms of color and line which emphasize both
the flatness of the Plaque and the shallow space-volume
frieze-like sequence.

That the Louvre Plaque was once part of a series of similar
plaques is suggested by the fragmentary inscription. It may
have come from an altar frontal or retable.

1 Marie-Madeleine S. Gauthier, Ematix limousms (Paris, 1950),
p. 49.

2 Marie-Madeleine S. Gauthier, unpublished statement, dated July
1 , 1966 .

126

Ile-de-France, Senlis, IV 3 Head of a Prophet (?). Stone, H. 13, W. 7, D. 6-1/4 inches. Prove-

ca. 1200-1215 nance: Found in the ground not far from the Cathedral of Senlis.

Senlis (Oise), Musee de Haubergier.

Enigmatic, mask-like, yet lyric and gentle, this beautiful Head
has long puzzled and intrigued historians of art. Found near
the Cathedral at Senlis, Marcel Aubert first considered that
it came from one of the west portal figures of the Cathedral,
perhaps from the figure of Saint John the Baptist. M. Aubert
subsequently changed his opinion, feeling that the Head
postdated this portal which must have been completed before
1191. Noting a parallel in the heads of prophets at the central
door of the north transept at Chartres, he revised his dating
of the Senlis fragment to sometime within the first fifteen
years of the thirteenth century. It is still difficult to determine
whether it depicts a prophet, an apostle, John the Baptist, or
the head of Christ, possibly from an early trumeau Beau Dieu
figure. Also shrouded in mystery is its original context,
which may prove to be one of the thirteenth-century transept

portals of the Cathedral, both of which were replaced in
flamboyant Gothic style in the sixteenth century. Mile. F.
Amanieux, Conservateur of the Musee Haubergier, suggests
also the possibility of the ancient Church of Saint Rieul at
Senlis.

Despite all these questions, we can still enjoy the Head
for its inherent character—the firm, undulating and grooved
clumps of the beard and hair, the ascetic appearance of the
elongated, slightly emaciated face, the timeless and unflinch¬
ing gaze of the eyes which retain traces of the original paint,
and the tightly pursed yet fleshy lips, sealed forever from any
utterance. While the romantic in us wishes he could speak,
we may prefer to resign ourselves to silent appreciation of
this elegant simplicity and distant nobility.

128

Limousin, Limoges,
second decade 13 th century.

IV 4

Bapthm of Christ. Also with champleve enamel, H. 14-1/2, W. 8-1/4
inches. Boston, Museum of Fine Arts, 50.858.

Five Groups of Relief Applique.
Gilt copper, inlaid enamel eyes

IV 5

The Last Supper. H. 13, W. 11-13/16 inches. Paris, Musee National
des Thermes et de l’Hotel de Cluny, no. 973-

IV 6

The Betrayal of Christ. H. 13-3/4, W. 10-9/16 inches. Baltimore,
The Walters Art Gallery, 53.10.

IV 7

The Flagellation of Christ. H. 12-5/8 inches. Paris, Musee National
des Thermes et de 1’Hotel de Cluny, no. 942.

IV 8

The Entombment of Christ. H. 11-1/2, W. 11 inches. Minneapolis
Institute of Arts.

The small cast applique heads initiated into service in Li¬
moges enamels as early as 1170 may have been the true an¬
cestors for this seemingly grandiose series of cast and tooled
applique reliefs. Even the eyes of deep blue enamel beads
continue in the later works. Yet this series of reliefs, now
dispersed on both sides of the Atlantic, are hardly the re¬
sult of tradition effortlessly continuing in time. Rather their
creative impact, with its expression of nobility and natural
grace, must be only the direct result of a great innovator who
was able to command all of the skills of the older art into
a new monumental entity. The works of this type are not
exactly alone, because in essence they are a relief counterpart

to the Louvre Plaque (cat. no. iv-2) in their style, their sug¬
gestion of spirituality, and their feeling for human drama. A
comparison of the Louvre Plaque with the relief of the En¬
tombment of Christ from Minneapolis clearly reveals this
similarity, even though the relief example in this case spaces
the figures in a more open composition. However, the over¬
lapping of clustered figures in the Louvre Plaque does occur
in the Last Supper and Betrayal reliefs.

The figure style in all these objects is an early Limousin
version of a classicistic, pseudo-Byzantine style. The style in
the hands of the Limoges artist-craftsmen takes on a firm¬
ness and simplification. The rhythms are measured; the char-

acteristic hooks and animated flutings of the draperies of
Nicholas of Verdun and the painter of Queen Ingeborg's
Psalter are not yet echoed in these Limoges works. The closest
parallel in manuscript form is a work of the early thirteenth
century, a series of excerpted manuscript illustrations for
the life of Christ now in the Pierpont Morgan Library (M t
44)* These manuscript paintings closely reflect both the
composition of the earlier stained-glass windows at Chartres
dating from circa 1150-1160, as well as some hints of the
classicistic draperies of the early thirteenth-century sculptures.
The fact that the manuscript was once in the Coliegiale of
Saint Martin at Limoges suggests a consideration of a possible

source of inspiration at Chartres for the Limoges reliefs. The
strongest inspiration might have come from Chartres glass
and sculptures of the first decades of the thirteenth century.

The five Limoges reliefs are gathered together for the first
recorded occasion known. Other works might be considered
with them as products of the same master and workshop. For
example, the same expressive and technical similarities may
be observed in: 1) a group of apostles, 10% inches high
and formerly in the Martin Le Roy collection, 2) a Presenta¬
tion relief, 12 inches high, formerly in the Spitzer collection
and now in the Musee Jacquemart-Andre at Chaalis, and 3)
a single draped figure, 12 inches high, in the Musee des

Beaux-Arts at Poitiers . 1 The late Georg Swarzenski was the
first to propose that the five reliefs shown here may have
come from one single shrine or retable - 2 The latter sugges-

1 See J. J. Marquet dc Vasselot, Catalogue raisonne de la collection
Martin le Roy f voL i: Orfevrerie et immllerk (Paris, 1906), no.
37, pi. xxvn; Emile Molinier, La collection Spitzer, voL i:
Orfevrerie rehgieuse (Paris, 1890), p, 112, no. 46; Marc
Sandoz, Catalogue d'art pre-roman et roman du Musee des
Beaux-Arts (Poitiers, 1959), no. 44, pL xn. The relief at Chaalis
was first brought into relationship with the five larger reliefs by
Harms Swarzenski.

2 Georg Swarzenski, ''A Masterpiece of Limoges," Bulletin of the
Museum of Fine Arts, Boston , xlix (February 1951), 17-23.

tion, or that of an altar frontal, seems more likely because of
the great size presupposed for such an ensemble, at present
very incomplete. The program, judging from the five pre¬
served reliefs, undoubtedly illustrated the life and passion
of Christ. The assembled works provide a unique opportunity
to reconsider this hypothesis. Marie-Madeleine S, Gauthier
has hinted that we should bear in mind a consideration of the
destroyed ensembles formerly at Bourganeuf and at the Col-
legiale of Saint Martial at Limoges . 3

3 Marie-Madekine S. Gauthier, unpublished statement dated July
1, 1966, which also suggested a date for the series in the second
decade of the thirteenth century.

Upper Rhine, Strasbourg, ca.1220 IV 9 Head of a Prophet or an Apostle . Limestone, H, 12-5/8 inches.

Provenance: Porta! of the south transept of the Cathedral of
Strasbourg, Strasbourg (Ras-Rhin) , Musee de POeuvre Notre-Dame.

In its general format, the double portal of the south tran¬
sept at the Strasbourg Cathedral is late Romanesque, yet in
its original sculpture it was Gothic in style. Two groups
of sculptures, dating successively at the end of the first
quarter of the thirteenth century, were once combined in
this decoration. Recorded in an engraving of 1617 by Isaak
Brunns, these sculptures have mostly been either destroyed
or removed to the Musee de T Oeuvre Notre-Dame, The
earlier group included the jamb figures of prophets and
apostles carved circa 1220, Three bearded heads are pre¬
served in this series.

Of these, the Head shown here is especially notable for its
continuation of features already observed in the Head from
the Judgment Portal of Notre-Dame in Paris (cat. no. iv-1).
These include a classicistic idealism combined with a sensi¬
tivity for organic sculpture as seen in the undulations and
flow of the flesh areas and of the hair and beard. The Stras¬
bourg master repeats the furrowed brow and in so doing
expresses a sense of muted anguish or pathos. Also, he an¬
ticipates his late Gothic successor Nikolaus Gerhaert von
Leyden by his exquisite attention to the expressive nuances
of chiaroscuro.

Rudolf Kautzsch was the first to attempt to trace an im¬
mediate source of this style in three stone busts from the
Collegiale Sainte-Madeleine at Besan^on in Burgundy, which

in turn have been related to contemporary sculptural develop¬
ments at Chartres.

The second group of sculptures of the Strasbourg south
portals is that of the famous “Ecclesia Master/' whose figures
of Ecclesia and Synagogia flanked the entire double portal
complex. These monumental figures and also this master's
carvings in the two tympana grow out of the style of the
earlier group but also have been said to receive new inspira¬
tion from Chartres. On the other hand, as Erwin Panofsky
has shown, there is also an awareness of Byzantine art seen
perhaps through the eyes of the artist of the Psalter of
Queen Ingeborg of circa 1200.

In fact, it hardly seems necessary to go to Burgundy and
all the way to Chartres as well to trace the stylistic origins
of both sculptural sequences of the Strasbourg south portals.
This style, which is both classicistic and humanistic, had
deep roots in the northeast areas for a long time—not only
in the Ingeborg Psalter but also in the metalwork of Nicholas
of Verdun and the manuscript paintings of Anchin. Further¬
more, it would seem that if any revitalization or inspiration
came from the Ile-de-France, it would have come from the
atelier of the jamb figures of the Judgment Portal of Notre-
Dame of Paris, which in itself may have been trained in the
northeast regions (see cat no. iv-1).

134

Lyonnaise, ca.1225

IV 10 Head of the Prophet Jeremiah . Stained glass, H. 26-3/S, W. 32-1/4
inches. Provenance: Probably from a choir window of the Cathedral
of Lyon, Paris, Depot des Monuments historiques.

Current opinion states that this stained-glass panel represents
the Prophet Jeremiah and that it comes from the second
window on the south side of the choir of the Cathedral of
Lyon. It was probably removed between 1848 and 1850 by
the restorer Thibaud*

Monumental in scale and impressive, this bearded Head,
along with the figure of which it was originally a part, was
meant to be seen at a great distance, from the floor of the
cathedral below. Its impact depends on its simplified, brilliant
color ensemble, especially accenting the blues and reds which
effectively set off the white glass of the Head. The latter is
indeed the focal point despite the surrounding decorations.
The eyes are large and penetrating and the linear treatment
of the hair and beard give the Head a different texture as
well as a certain three-dimensional force. All of these traits
may be observed in the glass of the early thirteenth century

at Chartres and at Strasbourg. The present panel has been
compared with the prophets below the south rose window at
Chartres of circa 1200. However, the execution in the Lyon
fragment is more summary*

The style of the Head in this panel may be compared in its
expressive linear emphasis with that of the roughly con¬
temporary Limoges enamel Plaque showing the Death of the
Virgin, from the Louvre (cat no. iv-2). For example, the
head of the Apostle supporting the head of the Virgin might
be studied in relation with that of the Lyon Jeremiah* The
forceful physiognomies of both depend ultimately if not
directly on Byzantine art. However, there is a creative force
and aesthetic cot found in Byzantine art. The expressive
linearism and dramatic use of intense color background in
each work is internally enlivened by subsidiary curvilinear
and color motifs.

136

Champagne, Reims, ca. 1220-1230

IV 11 Head of a Bishop , Limestone, H. 9-1/2 inches. Provenance: Voussoir
of the portal of Saint-Sixte, Cathedral of Reims. Reims (Marne),
Depot lapidaire de la Cathedrale.

Detached during World War I from a voussoir belonging
to an intermediate coping of the portal of Saint-Sixte of the
north transept facade, this Head fragment shows another
facet of portal sculpture in France. It illustrates a seeming
archaism in the simple carving of the eyes and in the primitive
miter. However, the hair and beard are aerated and especially
rich in depth of cutting. This characteristic and also the re¬
fined and almost delicate treatment of the nose, lips, and
forehead suggest a date near the beginning of the second
quarter of the thirteenth century. The hint of a psychological
intensity, possibly of anguish, conveyed by the furrowed
brow continues a tradition evident also in the earlier heads
from Notre-Dame of Paris and the Cathedral of Strasbourg
(see cat nos. iv—1, 9) ■ Francis Salet has related the series of
heads to which the present Head belongs with the more ro¬
bust, simple, and less emotional heads at Amiens. 1

1 Francis Salet, "De Senlis a Reims, Second moitie du XIII & siecle/'
Cathedrales (Paris, 1962), p. 58.

138

-.A-

Champagne, Soissons, ca.1225-1230 IV 12 Head of a Bishop. Stone, H. 12-5/8, W. 7-7/8 inches. Provenance:

Construction yard of the Cathedral of Soissons. Paris, Musee
du Louvre, Inv. R. F. 1037.

An expression of peace and absence of all cares pervades
this damaged but monumental Head. The eyes with swelling
lids are half closed, the cheeks are concave, the once-fleshy
lip is firmly closed. The jaw is massive and is covered with
small clumps of the beard, each cut with sharp parallel
grooves. The miter is decorated with precise, geometrically
cut bands.

When this Head appeared in the Cathedrales exhibition
of 1962, the cataloguer refined the earlier suggestion of
Marcel Aubert that it might have come from one of the
statues of the portal of Soissons Cathedral which were de¬
stroyed in the third quarter of the eighteenth century. It
was further proposed that the Head came from the central
portal, which was decorated in the first half of the thirteenth

century. This dating for the Head was made more precise,
attributing it to circa 1225-1230, on the basis of compari¬
son of the geometric lace on the miter with a chasuble of
Biville (Manche).

Whereas the cutting of the beard is suggestive of the
earlier stone Head from Meaux (see cat. no. in—20), the
smooth undulating modeling of the flesh areas and the less
schematic eyes clearly place it in a subsequent period. The
present dating of the Head seems to fit well also in rela¬
tion to other works considered here. However, the sense
of peace and the treatment of the eyes and concave flesh of
the face, suggest that this may be a head from a tomb effigy
rather than from a portal figure.

140

Normandy, ca. 1230-1240

IV 13 Recumbent Tomb Statue of a Knight. White limestone, H. 13-9/16,
L. 70-5/16, D. 23 inches. Provenance: The destroyed chape) of
le Merlerault (Orne). Philadelphia Museum of Art, 45.25.72.

The impressive sculptural dignity of this tomb sculpture
seems to have inexplicably escaped widespread notice. It is
furthermore a form of French Gothic sculpture rarely seen
in American collections, and on French soil its type generally
has suffered at least as much or more, chiefly as the result of
Revolutionary fervor.

This Knight is dressed in a chain mail coat, of which only
the collar, sleeves, and lower skirt are visible. The torso is
covered by a sleeveless pleated tunic which is caught with
a belt buckled at the front a little above the hips. The arms
are bent and the missing hands were originally brought to¬
gether in an attitude of prayer. The right leg is slightly bent;
the left is covered by the tunic and a large triangular shield
with six birds arranged at the extremities of a decorative
strapwork. The head has long undulating locks which fall
in ringlets upon a stiff pillow below; the beard indicated
by a smooth raised surface over the jaw may have been
originally painted. The verisimilitude in the details of hang¬
ing or folded heavy chain mail, the natural folds or pleats
of stout woolen cloth pressed down against a body beneath,
the easy cascade of loose curls on the pillow, and the taut
tendons at the neck, all give this work an intimate reality
which hardly belies the simple monumentality of the whole,
but rather reinforces it. The sculptor must have been an ob¬
server of life in all its aspects, and appropriately here he
selected those aspects of dignity, repose, and inferred pathos
as suitable to the tomb effigy of a young knight.

The late Martin Weinberger identified the birds on the
shield as blackbirds whose name in French, merle, he
thought might allude to le Merlerault (Orne) halfway be¬
tween Chartres and Caen and also to the name of the
knight. 1 Professor Weinberger astutely observed a relation¬
ship with the statues on the south facade at Chartres, men-

1 Martin Weinberger, The George Grey Barnard Collection (New
York, 1941), p. 15, no. 72.

tioning tentatively two of the most advanced of these, the
figures of Saint George and Saint Theodore on the left
portal. It is especially instructive to compare the long torso
with the pleats of the tunic gathered in by a belt and the
heavy chain mail pulled tight over the firm shoulders but
flexible at other points and loosely folded over at the collar
where the cape has been pulled off the head. Also, the
facial features are related, although the tomb effigy seems
a little more archaic. The curls at the temples and the
configuration of the short beard of Saint Theodore are
especially similar to those of the tomb effigy. Professor
Weinberger suggests, without enumerating these details, that
the sculptor of the tomb figure knew the Chartres sculptures.
Certainly this knowledge must have been more than mere
passing notice but rather must have been one of a more
intimate nature, suggesting that perhaps he might have
worked at Chartres and might have been a contributing
member of the atelier responsible for Saint Theodore and
Saint George.

Willibald Sauerliinder has studied several of the tombeaux
char trains of the first quarter of the century, works just
prior no doubt to the present sculpture. 2 In the four funerary
works at Leves and the two heads at Sens which Professor
Sauerliinder illustrates, we may observe several similarities
in the treatment of the hair, the delineation around the
eyes, and the general proportions and the rendition of
drapery where the figures are preserved. This raises the
interesting question whether the sculptor of the exhibited
tomb figure might be considered a bridge between the
sculptors of the tombeaux chartrains and the Saint Theodore
and Saint George on the south facade at Chartres.

2 Willibald Sauerliinder, "Tombeaux chartrains du premier quart
du XIII 0 siecle,” Linformation d'histoire de Part, ix (March-
April 1964), 47-60.

142

Northern France, ca.1240-1250

IV 14 Leaf from a Missal, for Noyon use. Tempera, burnished gold and

ink on vellum, H. 17, W. 10-3/4 inches. Anonymous loan.

Perhaps the most splendid of six preserved leaves from a
Missal for Noyon use, this handsome page still reflects the
character of the leaves not shown and probably of the Missal
as a whole in its once-complete state. Each of the preserved
pages is divided into two columns of Gothic script and musi¬
cal notation punctuated by larger decorations painted with
tempera and enriched with burnished gold. These include
eight exquisite historiated initials and four initials orna¬
mented with leafy spirals and leaping beasts. The initials
with the Resurrection, the figure of Saint Augustine, and
the symbolic figures of Ecclesia and Synagogia flanking the
Lamb of God have special interest because of their close re¬
lationship with the figure style in the pen "sketches” by the
architect Villard de Honnecourt in an album-pattern book
in the Bibliotheque Nationale, Paris (MS. fr. 19093).

While Villard originated from Honnecourt near Cam-
brai in the Diocese of Noyon, he became a great traveler
who recorded precious impressions of what he saw on his
journeys to Saint Quentin, Laon, Reims, Meaux, Chartres,
Lausanne, and churches in Hungary. His drawings depict
architectural projects, including plans and elevations, as well
as sculptures, decorative motifs, and studies of geometric
configurations of the human figure used to facilitate rhyth¬
mic compositions. He demonstrates in all of these drawings
a remarkable facility in the decorative and expressive use
of line as well as a keen eye for the essentials of the particu¬
lar model before him.

The two figures of Ecclesia and Synagogia (blindfolded)
on the Missal leaf, representing the New and Old Law, are

especially similar to Villard’s draped figures in their fluid
linear style, tall proportions, rhythmic stance, and perky
treatment of the features. Such details as the bunching of
the folds under the belt, the tendency to use hooks or loops
in the longer folds, and the loose falling of the folds over the
feet also correspond. We can even compare Villard’s ren¬
dition of Ecclesia with the same figure on the Missal leaf.

Scholars have hesitated attributing the Missal’s figural
decoration to Villard’s own hand, yet have closely related
both for their common features. Actually, for the visitor who
has traced the consecutive monuments in the exhibition, this
style may be seen as a natural continuation of the classicistic
style originating in the northeast areas between the Meuse
and the Marne by the end of the twelfth century but subse¬
quently widespread as seen in some of the figural decoration
on the great cathedrals such as Notre-Dame in Paris (cat.
no. iv-1), Chartres, Strasbourg (cat. no. iv-9), Reims,
and others. It also extended to the so-called "minor arts”
in the Limousin (cat. nos. iv-16, 17). The particular an¬
cestry of the calligraphic and painted style of the Missal leaf
leads from the Psalter of Queen Ingeborg and the Sacra¬
mentary of Anchin, both dating from just prior to or circa
1200, to the manuscripts of the same decade 1240-1250,
such as the Kristina Psalter at Copenhagen and the slightly
inferior Missal of Saint Corneille de Compiegne in the
Bibliotheque Nationale, Paris (MS. lat. 17318). Villard’s
album may represent a more mannered and subsequent phase
dating a little after that of the Noyon Missal and circa 1250.

144

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Northern France,
second quarter 13th century

IV 15 Enthroned Madonna and Child. Ivory, H. 14-3/8 inches. Provenance:

Said to come from Abbey of Ourscamp, near Noyon (Oise).

Paris, Musee du Petit-Palais.

Frontal and almost rigid in attitude, this large ivory Ma¬
donna and Child recalls in its first impression the wood and
metalwork cult images of the twelfth century. Recesses for
cabochons on the dado and moldings at the side of the
throne also suggest the incrustations of the earlier images.
However, closer examination shows that the ivory postdates
the twelfth century and that it utilizes the long flutings of
thin folds, the loose falling of draperies about the feet, and
the elongated proportions seen in many representatives of
the classicizing style in France following circa 1200. Indeed
we may follow the suggestion of Louis Grodecki 1 that this
ivory, along with a few others in the same style, reflects the
monumental sculpture of circa 1200-1230. One of the best
and also most convenient comparisons may be made with
the monumental torsos from the jambs of the Judgment

1 Louis Grodecki, Ivoires fran^ais (Paris, 1947), pp. 80-81, pi.

XXI.

Portal of Notre-Dame of Paris (see cat. no. iv-1). Like these
figures, the ivory gives us a hint of the form beneath the
draperies. It also suggests the movement of this form freeing
itself from a strictly frontal, architectural encasement. This
can be seen in the Christ Child who turns to one side and in
the Madonna’s staggered feet. A contemporary parallel of
this classicistic style may be seen in certain metalwork exam¬
ples in the Limousin, as in Cleveland’s Madonna and Child
relief applique (cat. no. iv-17).

The traditional provenance given for the ivory—the
Abbey of Ourscamp near Noyon—suggests comparison with
the classicistic works of this region in Northern France,
such as the figures of Ecclesia and Synagogia on the Noyon
Missal leaf (cat. no. iv-14), and similar figures in the album
of the architect Villard d’Honnecourt. Especially in the
loose, fluid rendition of drapery, a common geographical
origin and roughly contemporary date may be proposed.

146

Limousin, Limoges,
second quarter 13th century

IV 17 Relief Applique Group of the Enthroned Madonna and Child. Gilt

copper and enamel pearls. H. 8-1/2, W. 4-1/8 inches. The Cleveland
Museum of Art, Purchase from the J. H. Wade Fund, 62.29.

IV 18 Relief Applique Figure of a Deacon Saint, Transformed into a

Statuette Reliquary. Gilt copper, champleve enamel, and enamel
pearls. H. of figure, 13 inches; H. of ensemble, 19-3/4 inches. Provenance:
According to local tradition, probably from the Treasury at the Abbey of
Grandmont (but not in the inventories). Les Billanges (Haute-Vienne), eglise.

IV 16 Relief Applique Figure of Saint Paul with Background Plaque.

Gilt copper, enamel pearls, and champleve enamel. H. 11-5/8,

W. 5-1/2 inches. Inscriptions: s. pavlvs [and] si secvndvn carnem
vixeritis moriemini (Romans 8:13). Paris, Musee du Petit-Palais.

These three relief applique figures of varying dimensions and
undoubtedly from different original sources, were probably
produced in the same Limoges workshop at about the same
time. It is difficult to detect any progressive stylistic or techni¬
cal development from one to another.

The Saint Paul takes precedence in importance because of
its impressive size and monumentality and its vivid sense of
form, its eloquent classicistic draperies, and its handsome en¬
nobled head. Furthermore, it retains its original brilliant blue
enamel background with foliate rinceaux.

The Enthroned Madonna and Child is less massive and
less three-dimensional, apparently because of a restriction in
scale of the context in which it was to be used. It has in com¬
mon with the Saint Paul a similar monumentality, similar
classicistic draperies, a related sense of volume, and many
corresponding details such as the enamel pearls in the decora¬
tive horizontal bands and in the eyes. Also, both reliefs utilize
chiseled borders with loops and stippled background. The
heads in both cases are three-dimensional and closed at the
back.

The third figure, also once an applique relief, is more
static due to the requirements of the representation—a stand¬

ing Deacon Saint holding a small, rectangular reliquary of the
True Cross. This figure wears a dalmatic decorated with en¬
graved crescents set in lozenge spaces. The borders of this
garment are set with lapis blue and turquoise pearls of enamel
not unlike those of the other two figures. The head of the
Deacon is almost identical to that of the Virgin, the original
model before casting having undoubtedly been made by the
same artist. Both of these heads were burnished and their
eyes set with deep blue enamel pearls in a very similar man¬
ner. All three applique figures appear to have been produced
by the same combination of techniques, including casting,
repousse, direct chasing, burnishing, and chiseling.

There are a number of other works which can be assigned
to this same atelier. Some of these come from the same lost
ensemble, as in the case of the Saint Paul, where we know
of five more apostles or saints now dispersed but probably
originally from a large altar frontal. One of these, a figure
of Saint Martial, the first bishop of Limoges, is preserved
in the Bargello in Florence, and as first noted by Marie-
Madeleine S. Gauthier, it incorporates an engraved crescent
motif similar to that of the figure from Billanges. The other
figures in this series, all retaining their blue enameled back-

148

grounds and having the same dimensions, are Saint Matthew
(Louvre), Saint Thomas (Petit-Palais), Saint James the
Greater (Metropolitan Museum), and Saint Philippe (Len¬
ingrad ).

There are also works which may be compared to the Cleve¬
land relief. One curious example, formerly in the Spitzer
collection, is related in style but not in intended purpose. The
lap of the Virgin was extended, providing space for a con¬
tainer with a lid, thus transforming the image into a Vterge-
Custode, a container for the Eucharist. 1 This style is further
diluted in smaller applique figures, as in Berlin 2 and in the
appliques on a chasse in Baltimore. 3

Various datings have been proposed for the applique re¬
liefs in the exhibition. These range from 1189 for the Bil-
langcs figure to the third quarter of the thirteenth century
for the Saint Paul and the rest of the same series. The prob¬
lems of dating are naturally related to theories of the original
contexts of the respective works. One theory, tenaciously
held by several scholars, has been that the series of the Saint
Paul belonged to the destroyed altar frontal formerly at the
Abbey at Grandmont. Summaries of the relevant discussions
and controversies were given by J. J. Marquet de Vasselot,
Genevieve F. Souchal, and Mme. Gauthier. 4 Mile. Souchal

1 Leon Palustre, "L’orfevrerie religieuse,” La collection Spitzer
(Paris, 1890), 1,116, no. 57; Ernest Rupin, L’oeuvre de Limoges
(Paris, 1890), pp. 217-219-

2 E. F. Bange, Die Bildwerke des deutschen Muse inns, vol. ii: Die
Bildwerke in Bronze, Staatlicbes Museen zu Berlin (Berlin and
Leipzig, 1923), p. 14.

3 Walters Art Gallery, no. 44.4.

4 J. J. Marquet de Vasselot, Les crosses limousins du XIID siecle
'(Paris, 1941), pp. 149-158; Genevieve Souchal, “Les emaux de
Grandmont au XII e siecle,” Bulletin monumental, cxxi (April—
June 1963), 126 ff.; Marie-Madeleine S. Gauthier, "Emaillerie

continues to date the Billanges figure circa 1189, believing
it to have belonged to a large chasse once at Grandmont dedi¬
cated to Saint Etienne de Muret. The exhibited figure has
often been called Saint Etienne de Muret without proof. It
could just as easily be Saint Martial of Limoges. Mile. Souchal
prefers to date the series of Saint Paul circa 1220-1230.
Mme. Gauthier’s most recent opinion relates all three ex¬
hibited works to the same workshop; she dates the Billanges
figure in the second decade of the thirteenth century and
assigns the Saint Paul to be circa 1225-1235.

One point is especially clear: the figures with classicistic
draperies reflect similar sculptures on a monumental scale.
The draperies of the apostles and saints recall the torsos of
the Judgment Portal at Notre-Dame in Paris. The Cleveland
Enthroned Madonna and Child suggests not only the small
relief of dementia on the right jamb of this portal but in
addition the sculptures of the Coronation of the Virgin in
the central tympanum of the north facade at Chartres. It also
is similar to a depiction in stained glass of a crowned martyr-
saint from Soissons Cathedral, datable circa 1220 and now in
Berlin. r> The debt to such northern artists as Nicholas of
Verdun may not necessarily have been a direct one because
of the inroads this style had already made in the Ile-de-France
in the sculptural decoration of cathedral portals and in stained
glass.

champleve meridionale; Maitres et ateliers, note sur les methodes
de recherche,” Bulletin de la S octet e Archeologique et Historique
du Limousin , xci (1964), 68-69; Marie-Madcleine S. Gauthier,
"Innovations du premier art gothique dans 1’oeuvre de Limoges,”
Annuaire de I'Ecole pratique des Hautes Etudes, v, Sciences
religieuses, lxxiii (1964-1965).

5 Louis Grodecki, "De 1200 a 1260,” Le vitrail fran^ais (Paris,
1958), p. 123, fig- 92.

150

Mid-l3th century

IV 19 Front of a Corporal Case or an Antependium Fragment with the

Enthroned Madonna and Child with Saints and Kneeling Bishop (?).
Embroidery on red satin, H. 8-7/8, W. 8-7/8 inches. Lyon (Rhone),

Treasury of the Cathedral.

Arthur Martin suggested in 1856 that the prelate depicted
in this rare embroidery might have had the name of Peter,
since he is shown kneeling beside Saint Peter, who presents
him in effect to the Virgin in Majesty. Martin also thought
that the crowned female saint might be identified as Saint
Pulcherie because of the attributes of the globe and the orna¬
ment with embroidered crosses in imitation of antique trabea.
The image of the Madonna and Child, frontal and monu¬
mental, recalls Byzantine works such as the Stroganoff ivory
of the eleventh century in the Cleveland Museum. On the
other hand it can also be related to Cleveland’s Limoges
applique relief of the same subject because of the similar
proportions, pose, and iconography (see cat. no. lv-17).

The Lyon embroidery may have been used as part of a
larger embroidered antependium or may have once formed
the frontal panel of a corporal-case used by the priest during
the consecration of the Mass.

152

Limoges,

second quarter 13th century

IV 20 Crosier with Saint Michael. Gilt copper and champleve enamel,
H. 12-7/16 inches. The Detroit Institute of Arts, Gift of
Mr. and Mrs. Henry Ford II, 59.297.

The sign of the office of a bishop or abbot is his crosier, a long
staff with a voluted curve at the head. Nearly two hundred
Limoges enameled crosiers of the thirteenth century are pre¬
served; many other examples of later date exist in ivory; a
few exist in crystal (see cat. nos. v-17, 4). Certain single
works stand out for their great quality and their fine state of
preservation. The Limoges Crosier from Detroit is one of
these. Despite the criticism that has occasionally stigmatized
even so handsome a product of what was a large-scale produc¬
tion, we may still admire these crosiers for their elegant sil¬
houettes and their pleasing colors, as in the brilliant blue and
turquoise enamel studs in the present example, and the bright
reflecting surfaces of burnished copper gilt. Certain examples,
the Detroit Crosier included, are remarkable for the precision
of casting and engraving. Contrasting textures often result, as
evident in the figure of Saint Michael, the adjacent dragon
head, the entwined beasts on the knob below, and the three
reptiles on the lower stem. The colorful excellence of this
Crosier was sufficient to have attracted the attention of Eugene
Delacroix, who made a drawing of it in the mid-nineteenth
century, a fact first noticed by J. J. Marquct de Vasselot.

This same author assembled a great deal of information
on the corpus of Limoges crosiers. He divided them into two
groups—those with great stylized flowers and those with
human figures and/or animals. The latter group is the larger
one. The crook in the second group, as in the Detroit example,
often takes on the body of a reptile-like monster. Marquet de
Vasselot suggested that the representatives of the first group
began to be made a little earlier (circa 1200-1225/33) than
those of the second, although there probably was some over¬
lapping. One of the problems of dating these works is the
lack of securely dated pieces. However, a terminus ante quem
does exist for nearly a dozen crosiers which have been re¬
moved from tombs of bishops whose date of burial is certain.
Unfortunately such information is not provided in the case
of the Detroit Crosier. According to Marquet de Vasselot,
the earliest ascertained dates for crosiers in the second group

occur with an example from the tomb of Guillaume de
Boesses, a Bishop at Orleans from 1238 until his death in
1258, and another example from the tomb of Michel de
Villoiseau, Bishop of Angers from 1240 to 126l. 1 The first
of these two crosiers contains a figure of an enthroned Ma¬
donna and Child in a style derived and reduced from that of
the larger reliefs with classicistic draperies which have been
dated in the second quarter of the thirteenth century (cat.
nos. iv-16, 17). Unfortunately, the drapery style and the
treatment of the head of the Detroit Saint Michael are not re¬
lated even though the techniques arc similar. Saint Michael’s
drapery folds, the decoration of his wings, and the delineation
of his hair are all rendered by an irregular engraved line. The
draperies in particular are not treated three-dimensionally but
only in terms of this use of line, which by its raggedness
catches the light in an irregular, coloristic manner. The eyes
of the Saint as well as those of the beasts, like so many
Limoges works, are inlaid with dark enamel pearls. A search
for a similar combination of features in other Limoges
enamels may eventually make it possible to date the Detroit
Crosier more precisely than the second quarter of the thir¬
teenth century. 2

In any case, the champleve enamel crosiers were only in
demand during the century of the greatest popularity of
Limoges enamels in general, beginning in the last third of
the twelfth century. The larger number of crosiers probably
date from the first half of the thirteenth century. Certainly
their production ceased entirely by the early fourteenth cen¬
tury when they were replaced by examples in other materials.
It has not yet been possible to discern clearly defined work¬
shops responsible for this large production.

1 J. J. Marquet de Vasselot, Les crosses limousines dti XIII r siecle
(Paris, 1941), no. 36 (pi. ix) and no. 52.

2 Marie-Madeleine S. Gauthier, in an unpublished statement dated
July 1, 1966, has suggested dating the Detroit Crosier in the
second or third decade of the thirteenth century.

154

Diocese of Sens (?),ca. 1245 IV 21 Passion of Christ. Stained glass, H. 149, W. 34-1/4 inches.

Sens (Yonne), Depot des Monuments historiques.

The exact provenance of this window is not known. It was
found with a group of stained-glass elements at a Parisian
antiquarian’s shop around 1905. Sold to an American collec¬
tor, the present window returned to France as an anonymous
gift transmitted through the United States Embassy in 1954.

Each of the five scenes of the Passion are set within vertical
ovals which would be pointed except that they are intercepted
by lozenges. The entire series is framed by a decorative border
which makes a play on this scheme. The scenes progress from
the bottom to the top, beginning with the Betrayal of Christ
in the Garden of Gethsemane, reproduced here in color.
Above this may be seen the Flagellation, Christ Carrying the
Cross, the Descent from the Cross, and the Entombment. It
may be of interest to compare several of the scenes with the
Limoges reliefs of the same subjects and very similar composi¬
tions, once part of a series for an altar frontal (see cat. nos.
iv-6, 7, 8). The scene of the Crucifixion is missing from the
glass sequence as in the metalwork series, and presumably it
too is lost.

According to the suggestion of the cataloguer of the
Cathedrales exhibition, the shape of the historiated compart¬
ments and the style of the figures indicate a date in the neigh¬
borhood of the middle of the thirteenth century, perhaps as
early as 1245. Furthermore, we are told that certain influences
from the Parisian ateliers at Sainte-Chapelle are felt in the
head of the Christ as it appears in both the Descent and the

Entombment. However, the color range is very different from
the Paris work; there seem to be more nuances through shad¬
ing in the loaned example.

Fragments probably from the same series of stained-glass
panels or closely related ones have found their way to Amer¬
ica; one portion is in the Walters Art Gallery. At the Cathe¬
dral of Sens, analogies of style have been observed in certain
windows created after 1230, as in those panels illustrating
the Life of the Virgin, the Passion, and the Life of Saint
Stephen. Also to be considered are three windows in the
central chapel off the ambulatory with scenes of the stories
of Saint John the Evangelist, Saint ''Savinien,” and Saint
Paul. These related works were rearranged and completed in
the nineteenth century. The original parts have been dated
circa 1240-1245. The attribution of the window in the ex¬
hibition to Sens Cathedral is only plausible but not proven in
the light of these comparisons.

In any case, the present window is to be valued for the
extent of its preserved portions and the visual feast of colors
presented. The complexity of the figural compositions, the
overlappings of figures, the suggestion of movement and
variegated gesture all express a picturesque charm and distinc¬
tive vivacity which only glass can convey. Yet many of these
features are used to different ends in contemporary manu¬
script illustrations as well as in the earlier metalwork reliefs
of Limoges previously cited.

156

Lorraine, Metz( ?), ca.1240

IV 22 Corbel with a Cowled Head. Reddish limestone, H. 9, W. 6,

D. 6-1/2 inches. Boston, Museum of Fine Arts, Charles Amos
Cummings Bequest Fund, 61.164.

A strangely expressive visage appears beneath a monk’s cowl
in this stone fragment. The brow is wrinkled, the wide nose
flattened, the thick edges of the mouth are sufficiently drawn
to show rows of small non-human teeth, and the eyes are
penetrating in their gaze. Is this Head that of a monk or an
ape in a monk’s habit? Fragments of foliage below suggest
that the sculpture may have served as a corbel, as observed
in 1961 by Hanns Swarzenski, who has in addition pointed
out that the expressive realism of the Head itself and its
psychological observation may be seen also "at the Strasbourg
Minister among the dismantled choir screen (before 1252),
the gargoyles of about 1275, the console figures near the great
rose window, and the statues in the arcades of the tower of
Erwin von Steinbach.’’ 1 Dr. Swarzenski then observed a kin-

1 Hanns Swarzenski, "Some Recent Accessions," Bulletin of the
Museum of Fine Arts, Boston, lix ( 1961), 118.

ship also with the continuation of this tradition in "the ex¬
quisite but little-known corbels of Saint-Pierre-le-Jeune,
Strasbourg, done about 1275." More recently Dr. Swarzenski
has localized the Head in Metz and has assigned it tentatively
to the Naumberg Master before he went to Naumberg or
before circa 1239. The expressive naturalism of this master
is a parallel to that developed at Strasbourg. Other examples
of notable eloquence carved by the Naumberg Master before
his eastward trip may be seen in a head at Mainz from the
eastern rood screen of the cathedral. In any case, the Cowled
Head, probably of a grimacing pseudo-ape, is a rare and
treasured document in stone of the drollery spirit which was
not all fun, as we might first suppose, but which had a cutting
edge like a razor, not always immediately felt or understood.
The sharpness of this grotesque image and its pathological
fervor grows with contemplation. Its enormity within a medi¬
eval vision is not to be dismissed.

158

Languedoc, mid-13th century

IV 23 Chasse, called Chasse du Christ Legislateur. Silver, silver-gilt and
copper-gilt, cabochons, over walnut wood core, H. 17, W. 13-3/8,

D. 5-1/2 inches. Provenance: Treasury of the Abbey of Grandselve until 1791.
Bouillac (Tarn-et-Garonne), eglise.

The Chasse du Christ Legislateur is one of two smaller chasses
of four formerly in the Treasury of the Abbey of Grandselve.
The architectural features exemplified in the present work are
typical of the group. The form is one of a single-storied
church whose arcaded clerestory and imbricated roofing fol¬
low the nave and transepts and are cruciform in plan. At the
crossing is a two-storied octagonal tower with fenestration
rendered in relief on each level. The principal face shows an
enthroned Christ, his right hand held in blessing, surrounded
by a mandorla. The Apocalyptic symbols of Saint Luke and
Saint Mark appear immediately below. In the gable above the
trilobed enframing border of filigree and cabochons may be
seen the symbols of Saint John and Saint Matthew. The
arcades at the left and right are filled with apostles or abbot-
saints. On Christ’s immediate right is Saint Paul; on his left
is Saint Peter. Next to them stand the abbots with their
crosiers and books in hand, and the filigree and cabochon
borders repeat on the corner pilasters. The ends of the chasse
are enhanced with the figures of additional saints in low relief
and framed by arches. The gables at the ends of the nave
clerestory are each decorated with an enthroned Madonna
and Child, also rendered in low relief. All of the figural
elements are repousse work. The back of the chasse, where
there is an opening for the relic, is decorated with a geometric
pattern with lozenges. No marks have been discerned.

The Abbey of Grandselve, in the diocese of Toulouse, was
the most important foundation of Citeaux in the Midi. It was
under the protection of the Counts of Toulouse which con¬
tinued into the thirteenth century. With the relaxation of the
austerity of the Cistercian rule in the thirteenth century,
Grandselve experienced a remarkable materialistic splendor,
both in landed property and in a reconstructed and enlarged
church, dedicated by the Bishop of Toulouse in 1253. The

community was dissolved in 1793 and the monastery and the
church was entirely lost in the ruthless demolition of 1803.
This is especially tragic, as the church must have been an im¬
portant example of Gothic architecture in the Midi. The only
remnants of this lost splendor are the chasses and three
smaller reliquaries saved from destruction following the
Terror, having been moved mostly to Bouillac.

On first glance the four chasses would appear to date in
the twelfth century because they reflect the architectural form
of Romanesque churches of Toulouse, especially in their
clerestories, transepts, and octagonal crossing towers. Ray¬
mond Rey, in making this suggestion, had in mind Saint
Sernin and La Daurade in Toulouse. However clear this
reference is, we must note at least one of several of the
Romanesque details which are missing on the chasse: the
radiating apsidal chapels. Other details, such as the trilobed
arches and cusped gables, are clearly representative of the
inroads of northern Gothic architectural style. Since they were
constructed to enshrine the various relics brought back by
the Crusaders and by pilgrims, the chasse may have been
especially susceptible to architectural ornament and form
from outside the diocese. As a group, the four chasses may
be dated very generally in the mid-thirteenth century.

Those with an archeological talent may wish to ponder the
curious crowding of the figure of Christ within his mandorla
and of the figures of the apostles and abbot-saints who burst
out of their arcades. Also, two of the Evangelist symbols are
peculiarly expelled to the gable above Christ. Perhaps these
strange features hint at some completely lost or altered larger
setting. Yet in its present form, the Chasse du Christ Legis¬
lateur, is notably successful in providing a rich, solid, and
ordered architectural setting whose raison d'etre derived from
some now-dimmed but once-popular relic cult.

160

Limousin or Spain ( ?),
mid-13th century

IV 24 Enthroned Madonna and Child. Copper gilt, enamel and cabochons
over wood core, H. 18-1/2 inches. Breuilaufa (Haute-Vienne), eglise.

Like the ivory Madonna and Child from Ourscamp (cat. no.
iv-15) and the Chasse from Grandselve (cat. no. iv-23),
the Enthroned Madonna and Child from Breuilaufa might
be dated at first appearance in the Romanesque period. It has
much of the hieratic frontality of the cult figures of the
twelfth century. The Madonna and Child stare with a wide-
eyed visionary intensity; their limbs and general pose have
a certain primitive stiffness. The cabochons and enamel pearls
in the crowns and collar also suggest the earlier and generally
larger cult figures, the most famous being that of Saint Foy
at Conques.

Nevertheless, the soft, fleshy, and rounded faces, the easy,
flowing curved planes of the torsos and limbs, the natural
hanging drapery between the knees, and the gentle folds
about the feet all betray a later period and suggest a date
about the middle of the thirteenth century.

It has long been assumed that this image, described as
having been made by the repousse technique and with much
of its original core, 1 was the product of a Limousin workshop,
possibly at Limoges. W. L. Hildburgh questioned this as¬
sumption and has suggested either a localization in Spain or
a dependence on Spain in relation to three stylistically similar
examples of the same subject, all of the ’copper-sheathed”

1 The back and sides of the throne are modern.

type. 2 These are preserved in the Victoria and Albert Museum
in London, in the convent of Santa Clara at Huesca in Spain,
and in the Morgan collection of the Metropolitan Museum
of Art. Dr. Hildburgh cited each of these comparative works
as Spanish. The technique and treatment of the draperies
falling from the knees of both the Madonna and the Christ
Child in all of these examples are similar. However, the treat¬
ment of the faces and especially the enameled eyes in the
Breuilaufa group is quite different and is more comparable to
another work, La Virgen de la Vega at Salamanca.

On the other hand, Marie-Madeleine S. Gauthier has com¬
pared the Breuilaufa group with the series of relief figures
associated with the altar frontal at Grandmont (see cat. no.
iv-16), even though there is no trace of the classicistic dra¬
peries in the present work. Mme. Gauthier also finds a close
parallel in relation to the enameled eyes of the gisants of
Blanche and Jean de France, circa 1250, from Royaumont
and today in the ambulatory of Saint-Denis.

The Breuilaufa Madonna and Child is worthy of study
not only for its sculptural excellence and its fine metalwork
technique but also because it may encourage a fresh con¬
sideration of the complex problems of localization reflected
in the discussions of Dr. Hildburgh and the responses which
his theories have evoked.

2 W. L. Hildburgh, "Medieval Copper Champleve Enamelled
Images of the Virgin and Child," Archaelogia, xcvi (1955),
152-153, pi. xlvii.

162

Languedoc(?), dated 1273

IV 25 Portable Altar. Silver gilt and green porphyry or serpentine. L. 15-3/8,
W. 11-5/8 inches. Inscription: Hie : sunt : reliquie : SCE : crucis

ET SCI : ANDREE : ET : SCI : BARTHOLOMEI : ET : SCI MATHEI : APLOR *. ET :

SCI : basilii : ET : SCI : blasii : et : scor : iohis : et pauli : et : sci :

NICHOLAI : ET : SCAR : VIRGIMU : AGNETIS : MARGARETE : ET : BARBARE :

HOC : ALTARE : COSECATU : E ANNO : CRE : M : CC : LXXIII : NONAS : FEBR :

costructu : p : guidone : d : pileo : p : cuj : aia : cebrate : oretis.

Narbonne (Aude),

Sumptuous materials, exquisite engraved leafwork, vivid
linear imagery, and a timeless iconography are united in an
ensemble which is disarmingly simple yet whose usage lay
at the foundation of Christian belief. The dark green flecked
stone slab is set in a silver-gilt frame, the edge of which gives
the inscription in thirteenth-century letters quoted above. A
continuous foliated stem on the upper border is perhaps a
veiled reference to the Tree of Life or lignum vitae. This
border was once set with four corners presenting the four
Evangelist symbols; now the Matthew symbol is missing. The
middle of each side is punctuated by four extraordinarily
expressive depictions of the bust of Christ blessing at the top,
a half-length crucified Christ below, and at the sides, busts
of the mourning Virgin and Saint John. The iconography is,
as a result, twofold: a pathetic Crucifixion scene with the
Virgin and Saint John and a triumphant apocalyptic vision
of Christ in Majesty with the Evangelist symbols. The four
inner corners of the frame are filled with openwork brackets
with circular and trifoliate cutouts. Small trees and miscel-

Treasury of the Cathedral of Saint-Just.

laneous leaves are engraved against a crosshatched back¬
ground in the remaining metal areas.

The inscription tells us that the Portable Altar was ’con¬
structed’' by Gui de Pileo and that it was consecrated in
February of 1273. This fact qualifies the legend that the
Altar was offered to the cathedral by Pope Clement iv, who
died in 1268 and who was formerly Archbishop of Narbonne
under the name of Gui Foulques. Clement’s role in this, if
any, may have been that of supplier of the stone possibly sent
from Rome before his death. The date provides a terminus
ante quem for the metalwork and the finished product as we
see it in its nearly complete state today.

Presumably the silver-gilt frame is a rare if not uniquely
early example of Languedoc metalwork. It may have been
made even in Narbonne, although no recorded marks offer
any clues. The figure style provides little clear evidence in the
search for a precise localization, although the figure of Christ
on the cross is drawn in a manner comparable to Villard
de Honnecourt’s rendition of the same subject in his album-
pattern book now in the Bibliotheque Nationale in Paris.

164

CHAPTER FIVE

Beginnings of Courtly Art

Northeast France, Amiens (?),
fourth quarter 13th century with
additions of late 14th century

V 1 Psalter and Hours of Yolande , Vicorntesse of Soissons, in Latin and
French. Vellum, 434 leaves, H. 7-1/8, W. 5-1/8 inches. New York,
Pierpont Morgan Library, M. 729.

Executed for Yolande, Vicorntesse of Soissons, wife of Bern¬
ard v, lord of Moreuil, this profusely decorated and deluxe
manuscript contains her arms in the borders throughout as
well as two portraits of her, the one reproduced opposite
(folio 232 verso) and another showing also her husband and
two sons, Bernard vi, the future Marshal of France, and Jean
de Moreuil, the eldest (folio 1 verso). Judging by the com¬
bined evidence of the relative ages of Yolande and her family
in this second miniature together with the style of the minia¬
tures, the greater part of the manuscript may be tentatively
dated circa 1290.

The list of contents 1 is indeed a rich one. Included are:
six frontispiece miniatures, Amiens calendar, Memoria of the
Holy Face, Gallican Psalter, Canticles, Athanasian Creed
( Qu’tc unique uult ), Cologne Litany (?) Collects, Prayer of
St. Augustine (Chi comenche lenquisisions saint augustin ),
other prayers in Latin and French, Gospel lessons from Saint
John’s Gospel, Latin Prayers, Fifteen Joys of the Virgin in
French, Prayer to the Virgin in French (folio 220, Dame
resplendisans roine glorieuse ), Hours of the Holy Ghost (be¬
ginning imperfectly) and alternating with Hours of the
Virgin (use approaching that of Amiens), Hours of the
Passion, the Seven Penitential Psalms, Office of the Dead,
Commendation of Souls, Psalter of Saint Jerome, and the
Prayers of All Angels (added in the late fourteenth century).
Falling within the Psautier-Lirre d'Heures classification of
Abbe Leroquais, the text was compiled for a woman com¬
municant at Amiens, as indicated by the calendar, and parts
of the Hours of the Virgin. The latter is actually a mixture of
Amiens, Reims, and Paris forms, and the Usage for the Office
of the Dead is that of Tournai. The French prayers are in a
Picard dialect. It is thought that the scriptorium was in the
Province of Reims (which included Amiens and Tournai).

1 See for more complete descriptions: Exhibition of Illuminated
Manuscripts (London: Burlington Fine Arts Club, 1908), no.
139, and unpublished notes at the Pierpont Morgan Library,
dated 1950, upon which the present discussion is based.

Apparently a complete Amiens model was not available from
which to ccpy the correct forms.

The dark Gothic script of the major part of the manuscript
is especially handsome in its neat and compact character. A
corrector wrote in a heavier, less even fashion (folio 139
verso, line 14; folios 143 verso ff., and 182 fif.). A third
scribe, slightly different from the first two, may be observed
also; his work is distinguished by the stroked i’s (beginning
folio 201). The late fourteenth-century additions at the end
of the manuscript are written in a light brown ink and a man¬
ner consistent with other manuscripts of the later period,
(folio 405 ff., compare with script of the Gotha Missal, cat.
no. vi-3).

The decoration of the manuscript is in keeping with the
fullness of its textual content and its aristocratic destination.
This decoration is opulent and there are thirty-nine full-page
miniatures in the original part of the book and one in the late
fourteenth-century portion. Each of the twelve calendar pages
has a full border including the coats of arms and the occupa¬
tion of the month. The sign of the Zodiac is given in a rec¬
tangular panel within this frame. There are fifty-six full bor¬
ders in the original portion of the manuscript, each containing
one or two historiated initials. Many of the full-page minia¬
tures were removed prior to 1830. After their separate ap¬
pearance in the Ottley sale of 1838, these alienated miniatures
were reinserted in the original volume, some in incorrect
positions.

The lavish decoration, especially as seen in the larger
miniatures, has a strength of color and line which is character¬
istic of the best of the manuscripts produced in the northeast
French areas, especially that of Artois and Ponthieu. The
color ensemble stresses the deep blues, brilliant oranges,
white, several browns, and grays. The figures, in their fea¬
tures, hair, and draperies, depend for strength and elegance
upon the expressive and facile use of a black line sometimes
heightened in contrast to the added whites of adjacent areas.
Modeling with light washes and touches of white is used
sparingly. The background areas are either heavy burnished

168

gold or delicately colored geometric patterns. All of the full-
page minatures have elaborate architectural canopies or ar¬
cades in the Gothic style, also typical of a number of manu¬
scripts from northeast France. Such architectural devices are
similar in their compositional role to their ancestors pre¬
viously observed in the earlier Romanesque manuscripts (see
cat. nos. II—10 and ill—3). The vocabulary has changed and
now we see cusped and pointed arches, crocketed gables,
quadrilobed rose windows, buttresses (even flying buttresses
on folio 246 verso), and many other features of the later
architectural style contemporary to that of the manuscript.
This architectural style can be seen in the present exhibition
in the Chasse of Saint-Romain from Rouen (cat. no. v-5).

Two distinct hands have been observed in these miniatures,
although both are careful to work within a common format
and system of decoration. Both were undoubtedly members
of the same shop which oversaw the production of the entire
original manuscript. The chief difference between them is
that one shows a greater interest in light and dark modeling
in the faces, hands, and robes. He gives greater diversity of
expression to the physiognomies as well. In his miniature of
Christ in Majesty on folio 5 he achieves a rare three-dimen¬
sionality and monumentality. This particular miniature also
may be compared with Romanesque examples of the same
subject and similar format, as in the Sacramentary of Limoges
(cat. no. hi— 3)- Both miniatures are preoccupied with the
theme of an all-powerful Christ seated in glory with the
apocalyptic symbols on all sides. But how different are the
pictorial means! The power of the earlier work depends on
such abstract features as its firm line, hot color, and variegated
patterns. The Gothic miniature creates a sense of power in
terms of fluid line combined with three-dimensional model¬
ing expressing the natural fall of heavy draperies, and a
brilliant contrast of texture, color, and burnished gold in
the background. The mandorla of the earlier manuscript is
characteristically abandoned in favor of a quadrilobed one,
subdivided into three cusps in each lobe. This latter format
is utilized again and again in subsequent Majesty pages. It
can be seen in a more elaborate form in the Gotha Missal
(cat. no. vi-3).

The decoration of the present manuscript, clearly in the
northeast French tradition, shows much in common with, and
perhaps some derivation from, English miniature painting in
the proportions of the figures, facial types, deep-set eyes, fac¬
ile linearism, elaborate frames, heraldic ornament and mar¬
ginal imagery. In the boldness of these details, Yolande’s

Psalter and Hours may be compared with roughly contem¬
porary English works, as for example the Peterborough
Psalter in the Royal Library at Brussels (MS. 9961-2).

The marginalia are of special interest and delight. This
subject has been treated as a whole in the recent and useful
book by Lilian M. C. Randall. The principal subjects in the
larger body of manuscript examples of marginal illustrations
seem to derive "from four major iconographic categories: re¬
ligious sources, secular literature, daily life, and parody." 2
While many marginal creatures in Yolande’s Psalter and
Hours are purely decorative and suggest no particular action
or symbolism, at least sixteen folios do illustrate the larger
context discussed and indexed by Dr. Randall, as in the Man
and Serpent (Laocoon?) of folio 273 which she illustrates.
However, two examples not yet located in Mrs. Randall’s in¬
dex are worthy of notice too. The page with the beginning
text for the Gallican Psalter (folio 16) has a large historiated
initial B with David shown both playing an organ and about
to slay Goliath who stands squeezed into a Gothic tower
raised in the right margin. At the left of the initial on the
inner margin is a fox in a cowled cape and a pilgrim’s staff.
In the bas-de-page, a courtier blowing a trumpet rides a lion,
mimicked by a monkey with a fool’s cap. The lion is drawn
forward by reins held by Cain, who has just slain Abel, at the
extreme right. In the base niche of the tower stands a bearded
figure playing a vielle. Thus marginalia and historiated initial
are intricately interwoven in presenting first the parallel and
contrast of the slaying of Goliath and that of Abel, and sec¬
ond a parody on David the musician. In the page in Jerome’s
Psalter where Jerome is seated at his desk writing within an
historiated initial, the marginal scene below, also apparently
not indexed by Mrs. Randall, shows a woman dancing and a
man playing a vielle (folio 389). Two examples of the nude,
which are indexed by Mrs. Randall, illustrate the amusing
scene of a nude man pursuing a butterfly with his cloak and
another episode of two wrestling men clad only in drawers
(folio 338 and 259 verso).

Yolande’s Psalter and Hours is indeed as inexhaustible as
it is handsome. However, it has not yet received the full pub¬
lication it deserves. Furthermore, the bearing which it and
other manuscripts from the same area have on succeeding
developments in Paris, as in the manuscripts coming from the
(Continued on page 364)

2 Lilian M. C. Randall, linages in the Margins of Gothic Manu¬
scripts (Berkeley and Los Angeles, 1966), p. 15; for M. 729 see
pp. 34, 95, 155, 166, 235, fig. 383.

170

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Northeast France, probably
Abbey of Cambron, dated 1290

V 2 Antiphonary of Beaupre, in Latin. Vellum, 233 leaves, H. 18-3/4,

W. 13-1 /4 inches. Provenance: Cistercian Convent of Saint Mary at
Beaupre near Grammont and a dependency of the Abbey of Cambron.
Baltimore, The Walters Art Gallery, W. 759.

The date and original ownership of the Antiphonary of Beau¬
pre, of which only the first volume of three is shown, appears
in this same first volume on the folio facing the opening mu¬
sic for vespers on Easter eve reproduced opposite (folios 1
verso-2). Written in a monumental, upright, and formal
script, in alternate red and blue rows of text, the inscription
proclaims in Latin: “the book of the church of Saint Maria of
Beaupre which was written in the year of the incarnation of
the Lord, 1290. If anyone steals it, anathema be on him. If
anyone devoutly and honorably handles and uses it, may he be
blessed. Amen.” 1 The last two lines give the rubrics for the
vigils of Easter. The church or abbey referred to must have
been that of a Cistercian convent, judging by the habits worn
by the abbess and worshiping nuns which appear in several
places in the manuscript. The donor of the manuscript, a lady
of position, is shown elegantly garbed in the margin outside
the great ornamental initial which introduces the service for
Easter Sunday and which enframes the scenes of the Resur¬
rection and the Three Marys at the Empty Tomb. The donor
is labeled Domicella cle Viana, the lady of Viane. Below her
and also in the margin is a possibly more youthful lady,
labeled Domicella Clementia. Following these clues, Henry
Yates Thompson was able to identify the manuscript with the
only Abbey of Beaupre patronized by the Viane family. It
was the Cistercian Abbey near Grammont founded in 1228.
Donations by Gerard de Viane and Marie de Bornaing, his
wife, documented in 1277 and again in 1293, suggest that
Marie de Bornaing was the donor. Clementia also appears in
the Beaupre records; she may have been a niece or grand¬
daughter of Marie. However, there are no indications of a
scriptorium at Beaupre. Indeed, we know that a monk named
John was the scribe because he tells us this on a banderole ex¬
tending from his engaging portrait in the has de-page of the
first folio of volume hi. Beaupre was a dependency of the

1 Liber ecclesie be ate marie de bello prato. Oui script us fuit anno
ab incarnatione dni millesimo cc°. nonagesimo. si quis ilium
abstulerit anathema sit. si quis ilium fid el iter et honeste tractaverit
et servaverit benedictus sit amen.

Abbey of Cambron, fifteen miles away, where a scriptorium
has been recorded and from which well-illuminated manu¬
scripts have been preserved, several contemporary to the
Walters’ Antiphonary. One of these, also preserved in the
Walters Art Gallery collection, may be illuminated by the
same hand, according to the suggestion of Sir Sydney
Cockerell.

The Antiphonary is therefore an especially rare thirteenth-
century work because its date, ownership, donation, and place
of creation are all known. 2 Also, it is rare because of its large
size and format, created to be read by the entire choir. Scarcely
any large antiphonaries of English or northeast French work¬
manship are known to exist, and therefore the Antiphonary
of Beaupre may be a nearly unique survivor of changing li¬
turgical tastes and revolution.

However, it is the quality and character of the illumination
made to fit the expansive format which has special appeal.
The principal illumination is contained within the historiated
initials, some of which are nine inches in height. Their simple
coloring, fluid linear grace, and highly burnished gold back¬
ground give these figured initials a special elegance and carry¬
ing power. The great letter beginning the first of a tri¬
umphant series of Alleluias (shown opposite) contains three
striding, music-making angels and the scene of Christ tram¬
pling over the devil and releasing Adam and Eve from an
open hell-mouth. Christ is made the focal point by his brilliant
orange robe which dominates the other color areas. The
drama is further heightened by the burnished gold back¬
ground.

The Antiphonary once contained many marginal images,
which had little relation to the text. These included animals,
some fantastic, and people busied with activity. Unfortu¬
nately, many of these have been erased, probably as the result
of puritanical tendencies in a subsequent era. Three of the
(Continued on page 365)

2 For a more complete account, see Dorothy Miner, "The Antiph¬
onary of Beaupre," The Bulletin of the Walters Art Gallery,
ix (May 1957), 4-6, repr.

172

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Ile-de-France, Paris, ca.1300, V 3 Quadrilobed Plaque. Gold with cloisonne and translucent enamel,

close to Guillaume Julien H. 1-7/8, W. 1-7/8 inches. The Cleveland Museum of Art, Mary

Spedding Milliken Memorial Collection, Gift of William Mathewson
Milliken, 32.537.

Delicate and diminutive, this exquisite cloisonne enamel has
an importance and rarity which belie its size. Clear emerald-
green enamel, made bright by the gold shining through from
beneath, sets off the thin gold stems and the tiny opaque
flowers in yellow, white, blue, and carnelian red. The center is
set off by a lozenge shape with curved sides bordered with
dark translucent blue enamel. A harmonious balance is main¬
tained between the concave curves of this center piece, the
convex curves of the overall quadrilobe, and the tiny echoes
and variations in the trilobed, quadrilobed, and five-lobed
flowers within. The focal point is a cloisonne cross which is
accented at the center by a white quadrilobe and whose arms
are terminated with red trilobes. A small yellow disc punc¬
tuates the intervening spaces.

This rare enamel may be related to a tradition of cloisonne
enameling in Europe which was originally strongly depen¬
dent on Byzantine models, especially in technique. Late
twelfth-century examples can be seen on the Chalice of Saint
Rcmi in the Treasury at Reims and on the Nef from the
Treasury of Saint-Denis now in the Cabinet des Mcdailles in
the Bibliotheque Nationale (see cat. no. in—13). A later ex¬
ample from the end of the fourteenth century and very similar
to the Cleveland piece, is a roundel, applied to the figure of
the Virgin on the Chasse of Notre-Dame in the Treasury of
the Cathedral at Tournai. This suggests that the Cleveland
enamel may have originally served a similar purpose.

Also to be considered is a group of enamels, published by
C. Enlart, which may be associated with a Parisian artist
named Guillaume Julien. 1 This artist is recorded as in the
employ of Philippe le Bel. The bust reliquary of Saint Louis,
formerly in the Treasury of Sainte-Chapelle, was made in the
early fourteenth century for Philippe le Bel, and it is thought
that the work, including the enamels, was done by Guillaume
Julien. A small joliole or leaf of cloisonne enamel from this
bust reliquary, preserved in the Cabinet des Medailles, bears
close comparison with the Cleveland Plaque as well as with
several other enamels which may be grouped together in the
same context. These include the Reliquary of Saint-Sang at
Boulogne and a series of small plaques now in the Cluny Mu¬
seum and from the Martin Le Roy collection. These sec¬
ondary comparisons are almost identical in technique, color,
and motifs to the Cleveland work, and as a group they may
be dated at the same time or a little earlier than the joliole
from the reliquary bust of Saint Louis. 2

1 C. Enlart, "L’emaillerie cloissone a Paris sous Philippe le Bel et
le maitre Guillaume Julien,” Monuments et Memoires (Fonda-
tion Piot), xxix, 1-97, pi. 1.

2 Helen S. Foote, "A Quatrefoil Medallion of Translucent
Enamel,” cma Bulletin , xx (March 1933), 38-40, repr.

174

Second half 13 th century

Crosier Head . Rock crystal, H. 4-11/16, W. 4-1/8 inches.
Baltimore, The Walters Art Gallery.

V 4

The foliate forms on this handsome Crosier Head follow
those typically found in French architectural ornament. Be¬
cause of the great facility of carving in an extremely difficult
material, together with its elegance of line and form, the fin¬
ished product may be compared with the best French work in
other media. To date, it appears to be the only crosier candi¬
date in this material which might be considered French. This
apparent uniqueness is underscored by the fact that all of the
rock crystal crosier heads, many in French mounts, which ap¬
peared in the great Tresors exhibition in Paris in 1965, were
imported in the Middle Ages into France from either Italy
(Venice) or Sicily.

176

Normandy, Rouen ( ?),
end 13th century

V 5 Chasse, called Chasse of Saint-Romain. Gilt copper, repousse,
champleve enamel, H. 28-3/4, L. 33-1/2, D. 16-1/2 inches.
Rouen (Seine-Maritime), Treasury of the Cathedral of Notre-Dame.

The Rouen Chasse, like the earlier Chasse of Christ Legis¬
lates (cat. no. iv-23), reflects the general architectural
forms of its own period. In the present work these have been
reduced to a structure with an aisleless nave terminated at
each end by a single trilobed arch and twin towers. The sides
are graced with additional arches, done in openwork and set
with repousse relief figures and champleve enamel medal¬
lions. Smaller towers flank the central arcade which contains
the Virgin and Child on one side and Christ on the other.
The originals of these figures, together with those preserved
of the twelve apostles in the remaining arcades, reflect con¬
temporary figure style in large-scale sculptures as well as those
in north and northeast French manuscripts (see cat. nos. v-1
and 2). In keeping with the format of the Chasse and the
metalwork medium, these figures are elongated and a little
stiff in stance and gesture. However, in its original form, this
Chasse must have given a remarkable sense of architectural
grace and opulence.

Unfortunately, this large Chasse has suffered grievously
through several restorations and changes in which various
parts were replaced by new work and even casts. The first

changes to the Chasse, originally dedicated to All Saints, were
made when it was transformed into a Chasse of Saint-Romain
in 1776. In 1956 the Chasse was returned as best possible to
its original form prior to 1776. Jean Taralon has given in full
detail the complex history of the successive changes and an
account of its present state. 1 The Chasse is of great value in its
exquisite original parts and general form, and also in the les¬
sons for the eye in distinguishing the retained restorations
from the original work.

The original work may be assumed to have been done in
Rouen. Certainly in its general architectural character and
several details it seems to reflect certain thirteenth-century
portions of the Cathedral of Rouen. The figures, in their
proportions and draperies, recall those of the jambs of the
south transept portal, called the Calendar Portal.

1 Jean Taralon, "La cathcdrale de Rouen, le mobilier et le tresor,”
Les Monuments historiques de la France, II, nouv. serie (April—
June 1956), 125-136; Jean Taralon, "Note complementaire sur
la chasse de Saint-Romain," Les Monuments historiques de la
France, II, nouv. serie (October-December 1956), 235-237.

178

Ile-de-France,

third quarter 13th century

V 6 Angel of the Annunciation. Wood, traces of paint, H. 31-1 /2 inches.
Janville (Oise), eglise.

Despite the fact that this Angel of the Annunciation has lost
not only its hands and wings but also the Virgin which it
faced, we may still appreciate the intent of its sculptor. A
solid volume fills out and is partly disguised by the draperies
which fall in heavy loops beneath the right arm, are pulled
tightly downward to the right knee below, and gather in
massive folds breaking about the feet. We may sense a certain
strength which is not devoid of refinement as in the cap of
hair ringed with tight curvilinear curls and in the smoothly
modeled face, firm and with a clear brow, strong nose, full
lips with a hint of smile, and protruding chin.

This rare wood sculpture has been compared with the more
elegant and ethereal series of wood altar angels preserved in
the Louvre, the Berlin Museum, the Cloisters in New York,
and in the Churches of Humbert and Saudemont (both Pas-
de-Calais). 1 However, what the Janville Angel lacks in
feminine refinement and courtly sweetness, it makes up in its
more robust sculptural character. It may indeed be a reflection

1 La Vierge dans l 1 art fran^ais (Paris, Petit Palais, 1950), no. 149.

in this of the great trumeau figure of the Virgin and Child on
the north transept of Notre-Dame in Paris dated by Paul Vitry
about 1250. 2 The hancement and hint of grandiose mass
should be compared also with the more monumental and
slightly later sculptures of apostles, carved to adorn the in¬
terior pillars of Sainte-Chapelle. The hair and face are the
only elements which suggest Reims style, not as represented
in the wood altar angels but in their source, the stone angels
on the facade portals of the cathedral. The present work must
take its relative position among all these works, and a date
sometime in the third quarter of the thirteenth century seems
to be most likely. Its quality is underscored by a greatly in¬
ferior wood Angel of the Annunciation preserved in the
Musee des arts decoratifs in Paris. 3

2 Paul Vitry, French Sculpture During the Reign of Saint Louis,
1226-1270 (New York, n.d.), p. 63.

3 Jacques Guerin, Cent chefs-d’ oeuvres du Musee des arts decora¬
tifs (Paris, n.d.), pi. 15.

180

Ile-de-France, ca.1300

Virgin and Child. Ivory, H. 16-1/8 inches. Provenance: Sainte-
Chapelle, Paris, until 1791. Paris, Musee du Louvre.

V 7

One of the most sublime visions of the standing Virgin and
Child ever given embodiment, this ivory group has excited
the admiration of generations who have tramped through
endless galleries at the Louvre so that they might confirm its
beauty for themselves. This group is one of two or three
most familiar Gothic images carved in ivory. The figure of
the Virgin sways gently to one side, enveloped in ample yet
elegant draperies whose folds, loosely hung, are natural,
simple, completely convincing. A feeling of warmth and
ennobled humanity pervades the two figures. The Child, sup¬
ported by the Virgin’s left hand held high above her hip,
responds to the proffered fruit and appears to laugh. The
courtly face of the Virgin with a hint of a smile is sweet
without being simpering. No hint of future sorrow is given;
she represents an optimistic mother as well as the Queen
of Heaven. The exquisiteness of the whole is reflected in the
perfection of the smallest details. Traces of the original gold
decoration may be seen along the borders of the draperies,
on the Virgin’s belt, and in her hair.

By all odds the handsomest of all ivory standing Virgins,
the present work is nevertheless representative of the group
introduced at the height of popularity of the cult of the
Virgin for common devotional purposes in numberless pri¬
vate chapels and small oratories scattered over the country¬
side and abroad. Perhaps dependent at first on the monu¬

mental trumeau figures of the same subject on church portals,
as at Notre-Dame in Paris or at Amiens Cathedral {la Vierge
doree ), the ivory Virgins began to develop their own princi¬
ples of movement and draperies in keeping with the ivory
medium, the smaller scale, and above all the private devo¬
tional purpose. While the ivories helped to popularize the
form of the larger trumeau Virgins, they also altered it,
giving the image of the Virgin as a courtly Queen of Heaven
a certain ineffable charm. In the hands of lesser craftsmen,
this image became saccharine and banal, the complete an¬
tithesis of the rare combination of grandeur and intimacy
seen in the present work.

The title most frequently used for this incomparable small
sculpture is in keeping with its character of exquisite nobility:
la Vierge de la Sainte-Chapelle. Raymond Koechlin has
examined the successive inventories of this royal chapel in
Paris and has found descriptions which suggest that such an
ivory had been added to the treasury by the second quarter
of the fourteenth century. Subsequent inventory references
indicate that it resided in the treasury of Sainte-Chapelle until
1790, at which time it disappeared. The present ivory group,
which fits the details of the descriptions, was purchased by
Alexander Lenoir from Duval. It was sold in Lenoir’s sale of
1837. It entered the Louvre in 1861.

182

Probably Champagne,
late 13th century

Virgin and Child. Painted wood, H. 16-1/2, W. 3-1/2 inches.
Grandrif (Puy-de-Dome), eglise.

V 8

Although lacking the courtly elegance of the ivory Virgin
from Sainte-Chapelle (cat. no. v-7), this appealing and only
recently recognized small wood sculpture also depends to a
certain extent on the larger stone sculptures of the same sub¬
ject on the trumeaux of the great cathedrals. The contrapposto
pose, the full draperies, the rapport between the Virgin and
the Child, the Virgin’s slight smile are each features which
recall the Vierge doree at Amiens of circa 1250. However,
the draperies are perhaps a little closer to the trumeau Virgin
at Reims, and the smile itself has come to be thought of es¬
pecially in relation to other sculptures on the western facade
at Reims.

This smaller, more intimate work was undoubtedly the
central portion of a portable tabernacle with folding shutters,
possibly painted but now lost, which closed about it on iron
hinges. The pins for these hinges still remain. Above the
Virgin is an architectural canopy not unlike those over the
trumeau figures. The present example is supported on tri-
lobed arches and surmounted by a cusped and lanceted super¬

structure. Both the canopy and the shutters served in off¬
setting and protecting the precious sculpture within. The
sculpture itself is enhanced by substantial vestiges of an
earlier polychromy including blue, red, and gold. The outer
robe of the Virgin is decorated with medallions set with lion
silhouettes in reserve reminiscent of a rich brocade.

The several points of stylistic comparison with the sculp¬
tures on the west facade of Reims suggest that the sculptor
was familiar with these works and may have carved the small
wood example in the region, possibly the commission of a
minor aristocrat or a wealthy burgher who wished a Virgin
like that at the cathedral for his private chapel or oratory. This
must not have been a royal commission, for in that case the
material would have been ivory, as in the Virgin from Sainte-
Chapelle, or silver gilt as in the Virgin of Jeanne d’Evreux,
now also in the Louvre. During its later history the more
modest and still lovely work before us must have come into
use in the parish church at Grandrif in central France.

184

North France,

last quarter 13th century

V 9 Two Altar Angels. Oak, H. 26-3/8 and 26-1/2 inches. Princeton
(New Jersey), Princeton University, The Art Museum, The Carl
Otto von Kienbusch Jr. Memorial Collection.

The tall stone sculptures of two smiling angels with narrowed
eyes, long necks, and spread wings, intended to flank the
figure of Saint Nicaise on the west facade of Reims Cathedral,
had considerable influence in Reims, in Champagne, and be¬
yond. 1 This influence can be noted especially in sculptures in
other materials—metalwork, ivory, and wood. A number of
wooden angels, most, if not all, carved in oak, probably were
parts of series of such angels meant to stand high above and
around an altar on thin columns. Many of such ensembles are
recorded. 2 One particular group is known to have existed in
the older cathedral of Arras as recorded in a Triptych of the
Miracle of Sainte Chandelle preserved in the present cathe¬
dral of Arras. Five angels, out of six in this group originally
gilded, are preserved: two in the church at Humbert, two
recently discovered examples in the neighboring church at
Saudemont, and one in the Louvre (gift of Arthur Sachs).
When compared, the five wooden angels show a marked in¬
fluence from the stone angels at Reims as well as innovations
of their own. The draperies are treated more fully and more
massively. The wings of the angels at Humbert and Saude¬
mont, now thought to be the original ones, extend upwards
in graceful curves in contrast to those at Reims, which spread
downwards. Yet the same facial features and hair arrange¬
ments are continued, as are the contrapposto poses and tipped
heads. These sculptures may be considered as works made in
the Artois, possibly even at Arras, and still strongly influ¬
enced by Reims, with which there were many ties as pointed
out by Chanoine J. Lestocquoy. 3 There are several other
slightly smaller angels which may constitute one or more ad¬
ditional groups of altar angels. Two of these may be seen in

1 Paul Vitry, French Sculpture during the Reign of Saint Louis,
1226-1270 (New York, n.d.), pi. 71.

2 Richard H. Randall, Jr., "Thirteenth Century Altar Angels,"
Records of the Art Museum, Princeton University, xviii (1959),
2 - 16 .

3 J. Lestocquoy, "Quclques anges artesiens du XIIP siecle," Les

Monuments historiques de la France, v (January 1959), 31-34.

the Cloisters in New York, another in the Louvre (gift
Jeuniette). All of these are stylistically homogenous with the
Arras series and may represent the product of one master
wood sculptor or one workshop.

A second stylistic group of angels, dependent in other ways
on the examples in stone at Reims, represents another master
or workshop. Four of these, undoubtedly once of the
same measurements, must have come from the one ensemble.
These sculptures are a pair formerly in the Martin Le Roy col¬
lection 4 and the pair from Princeton. The latter have been
cropped at the bottom, apparently because of decay, and set on
rough bases. The smile is not as insistent in this group. The
faces lack the nuances of modeling and the eyes are not so
puffy. In general they lack the courtly sweetness of the larger
works; instead they give a more modest, intimate impression.
They were no doubt intended for a smaller setting than those
of the cathedral at Arras. However, the Le Roy-Princeton an¬
gels were also probably originally placed high on successive
tall, thin columns enclosing the altar. These columns may
have been connected by rods from which hung curtains. All of
these angels may have carried either candelabra, the instru¬
ments of the Passion, or censers.

Perhaps the most beautiful of this set of four is the Prince¬
ton Angel which reflects most closely the stone angel at Reims
next to Saint Nicaise. The gestures of the arms of both figures
throw the mantle behind, exposing the long tunic gathered
at the waist, here and there pressed against the supple body
and hung free in long folds over the weight-bearing leg. In
one of the Martin Le Roy angels which also has this feature
the comparison is even more clear, because the sculpture re¬
tains its feet and the folds of the tunic which break about
them, as well as the original base. By contrast the angels in
the Arras group more immediately recall the angel adapted
as an Annunciation angel at Reims.

(Continued on page 366)

4 Raymond Kocchlin, Catalogue raisonne de la Collection Martin

Le Roy, vol. II: ivoires et sculptures (Paris, I960), nos. 43, 44,

pi. XXI.

186

Early 14 th century

V 10 Virgin and Suckling Christ Child. Ivory, traces of color, H. 9-1/2,
W. 5, D. 3-1/16 inches. Rouen (Seine-Maritime), Musee des
Antiquites de la Seine-Inferieure.

The Virgin, seated on a backless throne, suckles the Christ
Child, who wears a long chemise and holds an apple in his
right hand. The Virgin’s mantle falls from her head over her
shoulders and is pulled across her knees, from which it hangs
in deep, heavy folds. The original metal crown, long since
lost, has been replaced by a modern one.

The group has a rare three-dimensional validity resulting
from a masterful solution of the space-mass problems of the
Christ Child seated on the lap of his mother. The great ma¬
jority of the seated ivory Virgins treat this area nearly as a
single mass. In the present work, by contrast, a spatial am¬
biance separates the Child from the Virgin, as well as relating
them. Both figures have a convincing ponderosity and solidity.
The resulting expression of monumentality is notable, but it
is also kept within the bounds of the subject and the size and
medium of the work. Although a great gulf separates its art¬

ist from that of the early Renaissance sculptor Jacopo della
Quercia, there is a common denominator in their treatment
of figural mass and drapery. Jacopo seems to build on the
monumental in fourteenth-century Gothic art evident not only
in Italy, but also in the north.

The Virgin’s face betrays the characteristics of sculptures
in Ile-de-France and Champagne in its slight smile, narrowed
eyes with puffy lids, delicate brow, and smooth, rounded
flesh. The treatment of the figural mass and drapery reflects
the developments in the larger stone sculptures in the same
regions. Raymond Koechlin catalogues this ivory within his
broad group entitled Le type classique, whose wide range also
includes the Virgin from Sainte-Chapelle (cat. no. v-7).
Koechlin dated the Rouen group in the early fourteenth cen¬
tury.

188

Languedoc, Toulouse,
second quarter 14th century

V 11 Head of an Apostle. Limestone, with traces of paint, H. 14, W. 9T/2,

D. 8 inches. The Cleveland Museum of Art, Purchase from the
J. H. Wade Fund, 60.170.

While Romanesque sculpture in Languedoc has been widely
discussed and has been well known for years, Gothic sculpture
in this region has only recently been the subject of several re¬
vealing studies and exhibitions. 1 It was even once thought
that the great fertility of the Romanesque period was fol¬
lowed by either a void or mostly mediocre works with very
few isolated masterpieces. It is now recognized that the area
has produced in the fourteenth and fifteenth centuries a whole
series of sculptures which are qualitatively on a par with the
best work in other areas. These sculptures take their place
now with the monuments which seemed before to be only iso¬
lated exceptions to the general picture: in the fourteenth cen¬
tury, the large sculptures from the Chapel of Rieux in Tou¬
louse and in the fifteenth century, the choir statutes at Albi
and the Notre-Dame de Grasse at Toulouse. In recognition
of the new knowledge of a whole body of works, three im¬
portant sculptures are illustrated and discussed: the pres¬
ent monumental Head of an Apostle, probably from the
second quarter of the fourteenth century, a silver-gilt Saint
Christopher of circa 1400, and a marble Saint Margaret of the
late fifteenth century (cat. nos. vi-7, vn-12).

It is necessary for the understanding of the first of these to
initially consider the Chapelle de Rieux sculptures in Tou¬
louse. Jean Tissendier, Bishop of Rieux from 1324 to his
death in 1348, ordered a group of twenty sculptures includ¬
ing figures of Christ, the Virgin, twelve apostles, Saint John
the Baptist, Saint Louis of Anjou, and several saints particu¬
larly venerated by the Franciscan order. These must have
been used against the interior buttresses of his sepulchral
chapel, called the Chapelle de Rieux in the Church of the
Cordeliers in Toulouse. The program also included two por¬
traits of Tissendier himself, one a marble recumbent tomb
figure and the other a kneeling figure presenting a model of
the chapel itself. In 1803, when the convent of the Cordeliers
was demolished, the statutes were moved to the Musee du

1 See introductions by Jacques Dupont and Marcel Durliot and
bibliographies in Tresors d’art gothique en Languedoc (Montau-
ban: Musee Ingres, 1961).

Midi de la Republique, after which several were dispersed.
The chapel itself, built between 1324 and 1344, was de¬
stroyed by fire in 1871.

Today, fifteen of the standing figures are in the Musee des
Augustins; two are in the Church of Taur at Toulouse; two,
after being in the collection of a Toulouse glassmaker, Gesta,
were sold and are now in the Museum at Bayonne; one apostle
has disappeared. 2 All of them were carved in a limestone
which Henri Rachou called pierre calc air e de Belbeze. Casts
of some of the sculptures appeared in Paris around 1910 and
were the basis of several forgeries, all smaller than the orig¬
inals, discussed and illustrated by the late James J. Rorimer. 3
Several of the casts, but not all of them, eventually appeared in
the collection of casts in the Trocadero Museum of Paris.

The originals of the standing figures measure about six
feet three inches, which in the Middle Ages would have been
considered a little over life-size. The stone was originally
painted and gilded because a significant amount of the orig¬
inal polychromy still remains. All but three of the figures re¬
tain most or portions of their original nimbi carved from the
same block as the sculptures themselves. These were deco¬
rated with deeply cut radiating grooves encircled by a pearl
decoration in reserve and a double engraved fillet. Each figure
carried an attribute or a book or both. Their hair was cither
abundant and full or was tightly curled. Three of the saints
were beardless; the others tended to have very full, long, curly
beards. Viewing each head frontally, the curls of the hair and
beard were arranged more or less symmetrically. However,
this symmetry is not so apparent when viewing any one figure
in its entirety, as the heads in every instance are inclined for¬
ward and turned to one side at the same time. No two heads
in the series are exactly alike, although there is a certain corn-
continued on page 366)

2 Henri Rachou, Les statues de la chapelle de Rieux et de la ba-
silique Saint-Semin au Musee de Toulouse (Toulouse, 1910).

3 James J. Rorimer, "Forgeries of Medieval Stone Sculpture,"
Gazette des Beaux-Arts, 6 Per., xxvi (1944), 208-209, figs. 18,
20-23.

190

Ile-de-France, Paris(?),
early 14th century

V 12 Diptych with Scenes of the Annunciation, Nativity, Crucifixion, and
Resurrection. Silver-gilt and translucent enamel on silver, H. 2-7/16,
W. (open), 3-13/32 inches. New York, Mr. and Mrs. Leopold Blumka.

Minute figures act out their momentous dramas in sequence
on four tiny "stages” in this small devotional Diptych meant
to be hung on the wall of a private oratory or by the bed of
some devout noble person. The setting for these dramas is a
deep, vibrant translucent blue enamel over silver. The figures
on the interior depicting the Annunciation and the Nativity
are cast in silver and parcel gilt, as is the proscenium above
with its trilobed arches and cusped gables with pinnacles. On
the reverse, the figures and gabled arches are rendered in bril¬
liant enamel. Each scene is delicately framed by a concave
molding with four-pronged stars. Two small holes in this
frame confirm the fact that the Diptych was once hung, prob¬
ably on a chain. The smooth, heavier outer frame and hinge
may be of later date.

In terms of jewel-like color, refined yet incisive delinea¬
tion of outline and drapery folds, and excellence of work¬
manship, this exquisite enamel Diptych has few qualitative
peers among a group of translucent enamels of the same dis¬
tinctive type. The enamels in this group, some of which are
mounted in large and elaborate settings, have been variously
localized as Anglo-French, English, northern French, French,
Rhenish, and Hungarian. Some have been assigned to specific
centers such as Paris and Aachen. One of the larger complexes
is the base for the silver-gilt statuette of the Virgin given by
Jeanne d’Evreux to the royal abbey of Saint-Denis in 1339
now in the Louvre. A paten dated 1333, a chalice, and a cruet,
the latter with a fleur-de-lis stamp, are in the National Mu¬
seum in Copenhagen. The shrine with enameled wings
thought to have belonged to Elizabeth of Hungary is now in
the Cloisters, New York. Also to be considered are the taber¬
nacle in the Pierpont Morgan Library, the similar one in the
Poldi-Pezzoli Museum, the base of a large reliquary cross in
the Cathedral of Pamplona, the four-part folding altarpiece
in Vienna, the single enamel mounted as a pendant with its
original chain in the Metropolitan Museum, the triptych in
the Museum of Fine Arts in Boston, another triptych and the
leaf from a diptych in the Victoria and Albert Museum, and a

reliquary in the Taft Museum in Cincinnati, together with
several shrines or reliquaries preserved in the Cathedral
Treasury at Aachen. 1

All of these w'orks contain small chiseled silver plaques
with translucent enamel; most of these are of about the same
size. Certain decorative motifs may be found in varying com¬
binations. Specific colors and their use in figures, background,
and architecture seem to repeat. Many are supplemented with
frames enhanced by a beaded or a four-pronged star (or
cross-stitch) motif, as on the Blumka Diptych. Some have
small cast relief figures, also as in the present Diptych. The
basis of the figure style in both these reliefs and the enamels
seems to be that of the work of the Parisian miniaturist,
Honore. In the figure proportions, draperies, architectural
canopies, decorated backgrounds with delicate vine tendrils,
or geometric motifs may be seen reflections of Maitre Honore
and the traditions which he augmented.

There are obvious and also subtle differences within the
enamel group, and in addition there is a considerable range
in quality. It seems that as the fourteenth century progressed
the figures became sketchy and the architectural canopies or
frames became looser and even sloppy. A parallel may be seen
in the waning Honore-Pucelle tradition in the second half of
the fourteenth century up to Jean Bondol and even contem¬
porary with him. Something of such an evolution is suggested
in following the enamels utilized in larger works whose set¬
tings can be loosely dated. The base for the Virgin of Jeanne
d’Evreux, the Poldi-Pezzoli tabernacle and the Simeonsrel-
iquiar at Aachen, datable in the first and second quarters of
the fourteenth century, represent high points of style and
(Continued on page 367)

1 For some of these and other examples, see Erich Steingraber, "A
Silver Enamel Cross in the Carrand Collection,” Connoisseur,
cxl (August 1957), 16-20, figs. 6-12. Margaret B. Free¬
man, ”A Shrine for a Queen,” The Metropolitan Museum of
Art Bulletin, xxv (June 1963), 327-339, figs. 1, 3, 12, 15, and
color fold-out.

192

Ile-de-France, Paris,

end of first third 14th century

V 13 Central Plaque from a Triptych: Virgin and Child with Angels ,

Ivory, with traces of color, H. 9, W. 4-1/2 inches. The Cleveland
Museum of Art, Gift of J. H* Wade and Mr. and Mrs. John L. Severance, 23.719.

This ivory plaque, the central portion of a triptych, may be
mentioned as another example in a whole series which Ray¬
mond Koechlin put together under the general heading of
Atelier of the Tabernacles of the Virgin. 1 This is a very loose
group in which the examples date over a period of more than
a century but which have in common the central representa¬
tion of the Virgin and Child frequently flanked with angels
and sometimes with scenes of the Life of the Virgin on the
wings. The Cleveland example once had such wings, whose
loss apparently took with them the side edges and columns
of the central plaque. Two of the angels are typical candle-
bearing examples. A third angel holds a crown over the Vir¬
gin’s head. The trilobed arch over the Virgin, the triJobed
opening above, the foliate capitals and small bases are all typ¬
ical of the larger group of ivory tabernacles. Stylistically the
Cleveland relief can be closely related with single examples
in the Musee de 1'hotel Prince at Angers, the Berlin Museum,

1 Raymond Koechlin, "Quelques atelier d’ivoires frangais au XIII e
et XIV* siedes, II, V atelier ties Tabernacles dc la Vierge,” Ga¬
zette des Beaux-Arts, 3rd Per., xxxiv (1905), 453-471.

and the Louvre which are illustrated by Koechlin in his arti¬
cle, 2 Despite the losses, the Cleveland ivory is of a similar high
level of quality. It is also of unusually large size. Its purpose,
like the others in the group, was as a small altarpiece for a
private chapel or oratory. It is also notable in the vestiges of
color which, together with other examples, suggests that most
Gothic ivories were partially painted and gilded. Here again,
as in so many examples, we may sense the inspiration of the
larger trumeau Virgins, especially that of the Vierge doree at
Amiens. The angels might be viewed as the heir to a long se¬
ries of such works on a larger scale in wood and stone. They
should be compared especially with the larger oak altar an¬
gels of the later thirteenth century (see cat. no. v-9). How¬
ever, the characteristics of the larger and earlier works are
fully adapted to the smaller, more exquisite and intimate con¬
text,

2 See for additional comparisons: William M. Milliken, "An Ivory
of the Early XIV Century,” cm A Bulletin, x (December 1923),
174-178, repr. on cover and p + 174.

194

Ile-de-France, Paris, ca.1320

V 14 Psalter, in Latin, for Dominican use. Vellum, 222 leaves, H. 5-3/4,
W. 4 inches. Baltimore, The Walters Art Gallery, W. 115.

According to the opinion of Kathleen Morand, this exquisite
Psalter containing eight historiated initials was probably
made by one of the artists who later assisted Jean Pucelle on
the famous Belleville Breviary, circa 1323-1326, in the Bib-
liotheque Nationale. Entries in the Calendar suggest that it
may have been made for Blanche of Brittany, widow of Phil¬
ippe d’Artois and grandmother of Jeanne d’Evreux, the third
wife of Charles iv of France. In any case, it typifies the best
in small devotional books created especially for the aristo¬
cratic laymen in the early fourteenth century. A Book of
Hours in the Spencer collection of the New York Public Li¬
brary is illuminated by a very similar hand and must certainly
come from the same workshop. The Spencer Hours was writ¬
ten for a younger member of the same house, Blanche de
France, Duchess of Orleans and daughter of Charles iv and
Jeanne d’Evreux. The Hours of Jeanne d’Evreux, illuminated
by Jean Pucelle, is another related work (cat. no. v-15).
Such small devotional volumes, while of varying artistic im¬
portance, are found in increasing numbers in the thirteenth,
fourteenth, and fifteenth centuries. Several of the most out¬
standing examples are illustrated and discussed here.

The figural inventions seen in the eight historiated initials
of the Walters Psalter grow out of the Paris tradition typified
by Maitre Honore, who signed a Gratian Decretals, a manu¬
script now at Tours and datable before 1288. The systems of
drapery folds, the figure proportions, and the physiognomies
in the Walters Psalter develop out of this tradition which
also encompassed the pictorial style of contemporary enamels
(see cat. no. v-12). However, the Psalter painter does not

attempt the soft modeling which Maitre Honore perfected
and upon which the contributions of Jean Pucelle are built.
Instead, the decorator of the present manuscript translates
this modeling into line and uses shading as an adjunct to line.
While the conservatism in these matters becomes all the more
apparent when contrasted with the work of Pucelle, we can
still admire their creator for his exquisite perfection within
his own metier. In fact, the Walters manuscript as a whole
has enormous appeal because this perfection is sustained
throughout, in the work of the scribe and of the decorator
who created the sparsely leafed stems in the margins.

A number of the inventions seen in this manuscript con¬
tinue to be used in the later fourteenth century, as a compari¬
son with the Gotha Missal of 1375 bears out (cat. no. vi-3).
Common to both manuscripts is the basic format of relatively
large historiated initials with diapered backgrounds of color
and gold set into the text, which in turn is framed by a delicate
stemwork and sparse yet sprightly ivy leaves. Something of
the character of the figure painting continues in the later man¬
uscript, with important changes wrought in terms of light
and dark modeling and greater realism, features in the Gotha
Missal which develop out of Maitre Honore and Pucelle.
Some compositions are particularly similar; for example, the
figures of the Father and the Son in the Trinity miniature in
the Psalter are seated in a similar way as the figures of the
Virgin and Christ in the Coronation of the Virgin miniature
in the Gotha Missal. The thrones, too, are similar, especially
in their quadrilobed recesses.

196

ijuunct Date

ntrni qiu ftnr nosAnntcaimnnusfl:

m m- m

rirntt- WflMnmi aiiiQi.pftrhri-

fulmirnroaij
iimmntD.w
UumrttoimM

Si-ii

tpmpnium:
pfaurnumto
uiDum mm

rptfunt.XJUflnfltr In neomriuaai
inn ffigm Die foncmpmmns noOrr.
ftjlgw pimpmm in ifmri cflv rr dim
" fitiiTi fro iamb

Ile-de-France, Paris, ca. 132 5-1328, V 15 Honrs of Jeanne d'Evreux. in Latin, for Dominican use. Vellum, 209
by Jean Pucelle, active ca. 1319-1350 leaves, H, 3-1/2, W. 2-7/16 inches. New York, The Metropolitan

Museum of Art, Cloisters Collection.

In a codicil to her will, Jeanne d'Evreux, who died March 4,
1371, bequeathed to the reigning monarch, Charles v, ////
bien petit litret d f oroisons which Charles iv, her husband,
had had made for her and which pucelle enlumina . This man¬
uscript may be identical with a Dominican Book of Hours
listed In Charles v's inventory of 1380 and which was said
to have belonged to Jeanne d'Evreux. It also may be connected
with a Dominican Book of Hours illuminated In black and
white by Pucelle which appears subsequently in the inven¬
tories of 1401* 1413, and 1416 of the collections of John,
Duke of Berry/ A dating for the manuscript between the
marriage of Charles le Bel and Jeanne d’Evreux in 1325 and
Charles’s death in 1328 seems secure. The Cloisters Hours has
been reasonably identified with these sources and also with
two other manuscripts—the Belleville Breviary and the Bible
of Robert de Billyng dated 1326, both of which give in vary¬
ing degrees an indication of Pucelle’s personal style along
with actual citations of his name and several of his assistants.
To this evidence must be added the depiction of a crowned
queen in prayer, which appears twice in the Cloisters manu¬
script.

The present manuscript, undoubtedly therefore the Hours
of Jeanne d’Evreux, contains many of the usual textual fea¬
tures of a medieval book of hours, a personal volume in¬
tended for use in private service or prayer. It contains a Cal¬
endar, the Hours of the Virgin, the Hours of Saint Louis
(particularly dear to the Valois), the Seven Penitential
Psalms, and the Litanies of the saints. There are twenty-five
full-page miniatures and countless images in the margins,
in the interiors of certain initials and at many line endings.
The miniatures are paired in the Hours of the Virgin; one
scene is taken from the life of the Virgin while the other rep¬
resents an episode in the Passion of Christ. These are prefixed
to each of the canonical hours in the Office of the Virgin.
Scenes from the life of Saint Louis accompany each of the
canonical hours in the Hours of Saint Louis. The twenty-fifth

1 For full quotation and discussion of these sources, see Kathleen
Morand, Jean Pucelle (Oxford, 1962}, pp. 31-36.

miniature of Christ in Majesty appears as the frontispiece to
the Penitential Psalms.

While the most complete conception of Pucelle’s style must
be gathered in relation to a whole group of manuscripts dis¬
cussed by Kathleen Morand in her revealing monograph on
the artist, the purest impression of this style can be seen in the
present manuscript, because all of the imagery is entirely by
one hand. It has been generally acknowledged that Pucelle’s
position as one of the greatest of French medieval artists is
due to his paintings in this work, in which he was able to adapt
creatively to his own purposes borrowings from contem¬
porary developments in northern France, the area where he
may have originated, in Italy, where he may have traveled,
and in Paris, where he certainly did all of the work by which
we have come to know his artistic personality.

Lilian M. C Randall has pointed out that Pucelle s work
was "one of the last creative high points in marginal illumina¬
tion during the gradual detente in the second quarter of the
fourteenth century on both sides of the Channel/' 2 His ani¬
mated droleries , whether in the line endings or more clearly
in the margins, w r ere in fact not characteristic of Parisian il¬
lumination but of north French, Netherlandish, and English
manuscripts—the latter perhaps the source of its original de¬
velopment, according to Erw r in Panofsky. 3 Panofsky also spec¬
ulates that Pucelle may have come from the north or north¬
east provinces, because of the influence of those regions,
whose style is exemplified in such manuscripts as the Psalter
and Hours of Yolande of Soissons and the Antiphonary of
Beaupre (cat. nos. v-1,2). This suggestion, tentatively ac¬
cepted by Carl Nordenfalk, is rejected by Mrs. Morand. 4 In
any event, the animated figures and fantastic creatures, which
populate the initials, line endings, and margins of the Ciois-

2 Lilian M, C Randall, Images hi the Margins of Gothic Manu¬
scripts (Berkeley and Los Angeles, 1966), p, 10.

3 Erwin Panofsky, Early Netherlandish Painting (Cambridge,
Mass, 1953), C 31.

4 Carl Nordenfalk, "Maitre Honore and Maitre Pucelle/’ Apollo,
exxix (May 1964), 359; Morand, p. 14.

198

ters Hours, have been the subject of several specialized studies
which have underscored their enormous richness and variety.*
The themes indicated include games, parodies, farce, music
and musical instruments, arms and armor. In most instances,
the references are to contemporary activities, not to Biblical
ones, and the equipment is of Pucelle’s day, whether it be a
psaltery or a basinet In the pages reproduced in color over¬
leaf (folios 154 verso-155), we may see several of these
marginal decorations and line endings. The two musical in¬
struments illustrated on the right-hand page are the bagpipe
and the vie lie, the latter played awkwardly by the monster in
the large initial at the top of the page,

5 Randall; also, Metropolitan Museum of Art Bulletin, n.s., xvi
(June 1958), 269-292 (includes: "Frog in the Middle" by
Richard H r Randall, Jr., "Bagpipes for the Lord" by Emanuel
Winternitz, "Medieval Armor in a Prayer Book" by Stephen V.
Crancsay),

While there is apparently little or no discernible relation¬
ship between many of these amusing diversions and the text
or the main miniature, there are several important instances
where the story of the miniature is continued or even corn-
pleated in the bas-de-page below. The scene of the Massacre
of the Innocents is shown beneath the miniature of the Ado¬
ration of the Magi (folio 69), the fallen pagan idols are de¬
picted beneath the Flight into Egypt (folio 83), and the sleep¬
ing soldiers at the holy sepulcher are illustrated beneath the
miniature of the Resurrection (folio 94 verso). Also, the
works of charity and healing for which Saint Louis was
known, as seen in the miniature showing the saint admin¬
istering to a sick man, are further underscored by two crip¬
pled beggars who crouch in the margin below. Similarly the
miniature showing the death of the saint is supplemented by
two crouching and cowled mourners. Beneath the miniature

of Christ in Majesty are two figures suggestive of Old Testa¬
ment prophets, precursors to those on the corbels of the portal
at the Chartreuse de Champmol or the gilt Kneeling Prophet
(cat. no* VI-20}*

One of the most striking features of Pucelle style, espe¬
cially evident in the Cloisters Hours, is its very painterly qual¬
ity as seen in the modeling of the figures in terms of chiaro¬
scuro with little recourse to linear contours except in facial
features, hands, and hair. In this Pucelle builds upon the
style and formulas of the Parisian miniaturist, Maitre Hon-
ore. Pucelle makes his tiny figures a little more solid and
weighty without becoming sculptural and without losing
their painterly character. He also gives his figures a sense of
freer movement. His method in the present work is a subtle
use of a semi-grisaille technique in which he reserves all color
accents for the backgrounds, the architectural settings, and
200

flesh tones. It is not certain whether the selection of the semi-
grisaille technique is to be explained purely In terms of Pu-
celle’s stylistic predilections, his technical development, the
requirements of the minute format of the present work, or
whether it has some religious or symbolic significance, as in
the case of the later altarcloths and painted shutters for altar-
pieces whose grisaille images had significance as a Lenten
observance* 0

Another striking element of Pucelle's art, abundantly evi¬
dent in the present manuscript, is the combination of his tal¬
ents at chiaroscuro with a tentative attempt at linear perspec¬
tive to suggest the ambiance of interior space* Nowhere is
this better observed than in the often-reproduced miniature
of the Annunciation (folio 16), the less familiar scene of a

G See Mo rand, p. 13; Molly Teasdale Smith, 'The Use of Grisaille
as a Lenten Observance,” Marsyas, vm (1959), 43-54.

spasm V:l

itfittinfti &L
Wmmrn ' '
imewnm /£k
p t^vssssmsss^^r
^>ffmmefliJaimmAn l “

tmmmeframa mszr
©lornt iwivtftiio fr
iiaaf«ncto'E55s:»3

ilaitfmnnpimapt
)inuntifrmpunfoa &&

r *

Miracle of Saint Louis (folio 102 verso), and in the barely-
known calendar miniature for February (folio 2 verso). A
hint of interior space can be felt also in the miniature repro¬
duced in color in which the Saint, miraculously receiving his
Breviary from a heavenly dove, is enveloped within a Saracen
fortress illustrating the latest European military architecture.
The aerial depiction of such architecture may have been in¬
fluenced by Giotto or Sienese painting. Similarly and more
precisely s Erwin Panofsky has found the possible models for
the Annunciation and the earlier Miracle miniature in panels
in Duccio's Maesta of 1308-1311, one of the great master¬
pieces of Sienese panel painting* Pucelle's use of Italian ar¬
chitectural space settings makes it possible for him to abandon
on these occasions the flat arcades and tracery canopies of ear¬
lier French miniature painting, symbolized in Pans by the Life
of Saint Denis (Bibliotheque Nationale MS. fr* 2091) and

represented in the northern provinces by the Psalter and
Hours of Yolande of Soissons (cat. no. V—1). On other pages,
he reflects and simplifies these very same traditions, rendering
the remnants in exquisite pen-drawn buttresses, arches, crock¬
ets, and pinnacles. The remarkable point of all this is that
there is no jarring discrepancy in the two systems of framing;
they are exquisitely dovetailed on successive pages with each
other and with frame less miniatures occurring throughout the
book* The frames almost lose themselves in a common touch
effected by his delicate brush and pen.

Another great contribution of Pucelle lay in his ability to
convey emotional states and psychological expression m the
figures which people the minute dramas in the present tiny
volume. According to Professor Panofsky and following
Emile Male, Pucelle was the first northern artist to replace
(Continued on page 368)

Ile-de-France, Paris,
first third 14th century

V 1 6 Pyxis: Boite a ho sties de Citeaux . Ivory, H. 5-3/4, Diam. 5-3/8

inches. Provenance: Said to be from Abbey of Citeaux. Dijon
(Cote-d'Qr), Musee des Beaux-Arts.

Intended as a eocharistic container, this cylindrical ivory box
or Pyxis had a function similar to that of the Limoges Coffret
(cat no. in-35). Yet the ivory bears no resemblance to the
earlier container, and its iigural style is completely representa¬
tive of the fine Gothic ivory carving style of the fourteenth
century. Also, the trilobed arcade and the soft fluid draperies
immediately betray this date. Presenting a cycle of scenes
from the Life of the Virgin, in the lower register within the
arcade are depicted the Visitation, Annunciation, Adoration
of the Magi, Nativity, and Presentation. Above are the scenes
of the Journey of the Magi, Annunciation to the Shepherds,
Massacre of the Innocents, Miracle of the Grain Field (from
the Apocrypha), and Flight into Egypt.

Because of analogies in the arches and the figures, Ray¬
mond Koechlin assigned the Pyxis to the nebulous Atelier of
the Tabernacles of the Virgin (see cat. no. v—13). While close
stylistic relationships may be found with particular ivories in
this group, it is difficult to isolate individual workshops. The
Dijon Pyxis can also be compared to larger sculptures of the
fourteenth century, such as retables and tomb reliefs, which
illustrate a tendency to use increasingly Gothic arcades as a

method of framing and compositional accent. This system
continues into the later four tenth century and finally becomes
three-dimensional in the pseudo-cloister arcades in the tombs
at the Chartreuse de Champmol (cat. no. VI-21 ). While con¬
siderably earlier than the Burgundian tombs, the ivory Pyxis
follows their simpler antecedents like the Tomb of Saint Louis
(d. 1270) from the Abbey of Royaumont now in Saint-Denis
or like the Tomb of the Heart of Thibault v de Champagne
(d.1270) f com the Dominican Church at Provins. 1 The Pyxis
has in common with these earlier tombs an encompassing
rhythmically and architecturally ordered relief sequence.

The provenance of the Abbey of Citeaux is not completely
certain. Another source, the Chartreuse de Champmol, has
been mentioned. While these are not necessarily conflicting
sources, there is at the moment no documentation which con¬
firms either of them,

1 Repr. Joan Evans, Art in Medieval France (London, 1948), pis,
206 and 128 respectively. See also UArt en Champagne (Paris,
Musee de I'Orangerie, 1959), no. 37, pi. vr.

202

Ile-de-France, Paris,
mid-l4th century

V 17 Crosier Head ivith Virgin and Child with Angels and the Crucifixion.

Ivory, H. 5-3/16 inches. Baltimore, The Walters Art Gallery, 71.231.

This is the third and last of the series of bishop’s crosier heads
shown here (see cat. nos. iv-20, v-4), and it illustrates an
historiated type in which the Crucifixion with the Mourning
Virgin and Saint John is addorsed to the Standing Virgin
flanked by candle-bearing angels. The style is somewhat looser
and more relaxed than that found on other contemporary
ivory objects and is typical of the many crosiers in this ma¬
terial. However, the motifs and poses of the various figures
are reflections of a style pervasive in many works in different
materials during the middle decades of the fourteenth cen¬
tury. It is notable that the animal-headed volute of the earlier
Limoges crosiers still reflecting a Romanesque spirit is here
replaced by a curled stem covered with pointed ivy leaves.

204

Ile-de-France, Paris, V 18 Mirror Back: Lady and Gentleman Playing Chess. Ivory, Diam. 4

ca.1320-1350 inches. The Cleveland Museum of Art, Purchase from the J. H. Wade

Fund, 40.1200.

V 19 Mirror Back : Siege of the Castle of Love. Ivory, H. 4-1 /2, W. 4-1 /4

inches. Seattle Art Museum, Donald E. Frederick Memorial Collection

A number of fourteenth-century ivory objects illustrate chi-
valric subjects which were very much in vogue at that time in
poetry and other literary works. Ivory mirror backs provided
the perfect occasion to cater to this taste, and these two ex¬
amples are typical of the best workmanship in these objects
in a lady’s everyday life.

The Cleveland Mirror Case illustrates a gentleman and a
lady playing chess beneath a drapery canopy supported by a
pole beyond the chess table. It has probably lost the usual four
chimerical creatures around its rim which are preserved in
other examples. The gentleman is dressed in a hooded flowing
gown, while his comely companion wears an even longer
gown as well as a mantle over her head and a wimple. Her
coiffure causes the mantle to bulge at the sides, giving a curi¬
ous triangular effect. The puffy eyes and slight smiles are in¬
dications of the continuation of these features first seen at
Reims in Champagne during the second half of the thirteenth
century (see cat. no. v-9). The courtly gestures, the tipped
heads, and the crossed knee are characteristic mannerisms of
fourteenth-century style in many media. The subject probably
refers to the Romance of Huon de Bourdeaux, in which the
gentleman before us engages the daughter of a Saracen ad¬
miral in a game of chess. The stakes were high, for if Huon

lost, he was to be decapitated; if he won, he was to have
gained the lady’s favors and a sum of money.

The more intricately carved but still stylistically related
ivory Mirror Back from Seattle also reflects contemporary
garb and manners. It retains its rim decoration, four engaging
wyvverns. The subject in the center is the Siege of the Castle
of Love from the Romance of the Rose, the popular poem be¬
gun by Guillaume de Lorris and finished by Jean de Meung
about 1280. The composition, like that of the Cleveland ex¬
ample, is based on symmetry, although the animated move¬
ment of the figures tends to disguise this. Sherman E. Lee has
vividly described the scene: "In the foreground mounted
knights are shown in battle and from the castle the ladies
throw roses in a token defense. Two knights climb trees to
the battlements, one offering his sword, hilt foremost, in sur¬
render. One knight, without armor, has pierced the defenses
and stands embracing one of the fair defenders. The whole
scene is conceived in a lively and charming fashion with espe¬
cial attention to the heads with their knowledgeable Gothic
smiles . . . the Siege carries us to a wonderland where all
knights are heroes and all ladies fair.” 1

1 Sherman E. Lee, in Art Quarterly, xii (Spring 1949), 193.

206

Ile-de-France, Paris,
ca.1330-1350

V 20 Casket. Ivory, H. 4-1/2, L. 9-11/16, D. 4-13/16 inches.
Baltimore, The Walters Art Gallery, 71.264.

The Walters ivory Casket continues in the same vein as the
two mirror backs (cat. nos. v-18,19). The Casket, one of
only seven intact examples, was probably used as a container
for jewelry, other small objects of value, or personal items
owned by a fourteenth-century lady of position. The scenes
depicted are an allegorical exegesis on the power of youthful
love, and elements of honor, virtue, and folly connected with
it as symbolized in episodes from contemporary literature. 1

The principal scene is in the two center sections of the lid
which depict a tournament whose theme is chivalric courage
in praise of the love of a lady. The flanking compartments il¬
lustrate, as in the Seattle Mirror Back, the Siege of the Castle
of Love. The knights use current equipment of warfare in the
siege but with ammunition of flowers. The success of the
siege is illustrated in the right-hand compartment.

The scenes included on the front panel are two episodes
from the Lai by Henri d’Andely (one with the humiliation of
Aristotle on all fours bearing Campaspe on his back) and
two sequences emphasizing the rejuvenating powers of the
Fountain of Youth.

The left end of the Casket shows two more subjects, one
from the story of Tristan and Iseult depicting the wife of

1 The four sides of the Walters Casket are illustrated in full by
Raymond Koechlin, in Revue de lart chretien, lxi (1911), 398-
399, figs. 22-26; for the group of seven caskets see Raymond
Koechlin, Les ivoires gothiques fran^ais (Paris, 1924), vol. I,
chapter v; vol. II, nos. 1281-1287. See also A. McLaren Young,
"A French Medieval Ivory Casket at the Barber Institute of Fine
Arts,” Connoisseur, cxix (September 1947), 16-21, the basis
of the present discussion.

King Mark meeting with her lover, Iseult, while the King
observes from a tree above, yet is revealed by his reflection
in the pool below. Forewarned, the lovers deceive the jealous
king in harmless conversation. This allegory on the plight of
a duped husband in the face of infidelity is probably derived
from the poem version of the story by Beroul. The adjacent
scene, however, appropriately dominates the plaque and rep¬
resents moral purity in the figure of a virgin who traps a uni¬
corn in her lap so that the hunter might bring him down.

The right end may illustrate a scene with Galahad, and the
rear relief incorporates other episodes from the Arthurian
chronicle, probably as recorded in the poems of Chretien de
Troyes. This author’s Perceval relates the stories of Gawain
which are indicated in three of the sections—the first showing
the assault of bolts, arrows, and a lion against Gawain, the
second with Gawain in triumph over the lion, and the third
with Gawain receiving his reward, a beautiful maiden who
welcomes him with her attendants. The fourth episode is
that of Lancelot crossing the bridge of a single board en route
to free Guinevere also as related by Chretien de Troyes.

The Walters Casket is typical of the others in the group.
All of the scenes make a play on the theme of courtly, youth¬
ful love and therefore are not a mere jumble of subjects as
one might first supose. As an elaborate visual exegesis on the
subject based on contemporary secular literary themes, these
caskets implied a high level of culture on the part of their
owners necessary for their fullest understanding. With the
literary keys in hand, we can today more fully appreciate their
animated imagery.

208

Charnpagne > mid-14th century

V 21, 22 Annunciation Group. Marble, with traces of paint and gilding.
Provenance: Church at Javernant (Aube). Virgin , H. 27-1/8,

\V. 7-7/8 inches. Paris, Museedu Louvre. Angel. H. 22-1/4, W. 11-1/4,

D. 4-1/8 inches. Inscription on banderole: ave maria, gratia plena.

The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 54.387,

This elegant sculptural group, separated for more than sixty
years, came from the Church at Javernant and probably was
carved by a sculptor of the region in the middle of the four¬
teenth century. It represents a culmination of the courtly style
begun by the master of the angels who produced sculptures
for Reims Cathedral, also in the same general region in the
third quarter of the thirteenth century (see cat. no. v-9). The
exhibited figures, while technically sculptures in the round,
since they are fully carved on the back, are actually to be con¬
sidered relief sculptures because they have little mass or vol¬
ume (the angel is only 41 / 8 inches thick). The intent of the
sculptor was to present a courtly, elegant relief rendition of
the subject meant to be seen primarily from the front. The
use of marble reflects the generally increased vogue of this
material in the fourteenth century in connection with sacred
images (see cat. no. v-23) and also for tomb sculptures, the
most splendid sequence being at Saint-Denis.

While having a parallel in contemporary Italian works,
as for example in the paintings of Simone Martini (1284?-
1344), the elegance and sophistication of this present com¬
position is specifically French in the rippling and undulating

folds, the curvilinear drapery edges, the tightly curled hair,
the puffy eyes, and mannered gesture* The refinement of the
best French fourteenth-century ivory reliefs is here height¬
ened and made more elegant. Both figures retain significant
amounts of the former polyehromy* The Angel is especially
well preserved in this respect. In the gilding of the drapery
edges and wings with added color, we can receive a very good
impression of the original concept of coloristic restraint in¬
tended for the group*

Raymond Koechlin compared the Virgin with the Virgin
and Child group at Auxon (Aube), and while they both may
be seen to follow in the same local tradition, the Louvre figure
goes far beyond the Auxon group in refined elegance. Mi¬
chele Beaulieu suggested that the well-known ivory Annun¬
ciation group in the Museum at Langres dating from the
fifteenth century (or later) may be in fact a copy of the pres¬
ent reassembled group.

The two figures were probably separated shortly before
the Exposition retrospective de Fart frangais in 1900, possibly
because of their different states of preservation.

210

Ile-de-France, Paris, V 23 Virgin and Child with a Bird. Marble, H. 21-1 /2 inches. The

mid-l4th century Cleveland Museum of Art, Bequest of John L. Severance, 42.784.

The Virgin faces frontally, her head tipped in reverie. She
sways slightly to one side, her weight borne chiefly over her
left foot, the toe of which is barely suggested. Her free right
foot rests to one side overhanging the thin ground on which
the figure stands. The mantle is pulled across at the front like
an apron revealing, above and below the bodice and belt, the
long smooth folds which break at the ground and over the
feet. At the sides, the mantle is pulled tight around each lower
arm, falling from this point in elegant, curvilinear cascades
which bracket the figure. The Christ Child, half nude, sits in
the crook of the Virgin’s left arm. He is conceived as almost
part of the same mass as the larger figure even though he
reaches toward the bird which the Virgin holds in her right
hand. The latter motif, a common one in the fourteenth cen¬
tury, refers to an episode during the flight into Egypt accord¬
ing to the Gospel of the pseudo-Matthew, chapter 27. As a
whole, the sculpture is one of simple charm and elegance
without mannerism. Part of its appeal derives from the beauty
of the material itself, a finely polished white marble.

The Madonna and Child constitutes one of the most fre¬
quent subjects for free-standing sculpture in fourteenth-cen¬
tury France. Louise Lefran^ois-Pillion has acknowledged the
existence of five or six hundred examples in various materials,
and she suspects that there are many more to be considered
which so far are unrecorded—in country churches, provin¬
cial museums, and private collections in France alone, not to
mention those works which have migrated to public and pri¬
vate collections outside of France. 1 Methodical study of this
material is still in a preliminary stage, although important
contributions have helped clarify significant aspects of stylistic
development, localization, and dating. 2 The number of free¬

1 Louise Lefran^ois-Pillion, "Les statues de la Vierge a l’Enfant
dans la sculpture fran^aise au XIV e siecle,” Gazette des Beaux -
Arts, 6 Per., xiv (1935), 129-149, 204-226. This article forms
the principal basis for the present discussion.

2 See also Johanna Heinrich, Die Entwicklung der Madonnen-
statue in der Skulptur Nordfrankreichs von 1250 bis 1350
(Leipzig, 1933). William H. Forsyth, "Medieval Statues of the

standing sculptures of this subject increased significantly in
the fourteenth century. The roots for this development may
be seen in the much admired trumeau figures of the Virgin
of the previous century. The motivation for the increase may
be found in the developing cult of the Virgin. The diffusion
of types and styles, generally regardless of material (lime¬
stone, marble, alabaster, or wood), resulted both from the
increasing mobility of the sculptors as well as their works and
from the widespread distribution of small statuettes in ivory
and metal which in turn may have served as models. Being
votive or cult sculptures, Madonnas were not restricted to
churches but were intended also for crossroads, entrances to
towns, and domestic use in private oratories and communion
rooms. They were presented to churches at the command of
nobility and royalty, the well-known donation of a silver-gilt
Virgin to the Abbey of Saint-Denis in 1339 by Jeanne d’Ev-
reux, widow of Charles iv, being an example. Madonna and
Child sculptures were also made on order for members of the
bourgeois merchant class, as witnessed by the inscription no¬
ticed by Mme. Lefran^ois-Pillion on the base for the Madonna
at Lesche (Seine-et-Marne) which was given in 1370 for
devotional purposes to the church by a certain ’’Plantefolie
Belon, Couturiere a Lesche.”

Naturally, studies of this vast subject begin with docu¬
mented and localized works whose dates of execution or of
donation are occasionally recorded, as on the base of the Ma¬
donna at Lesche. Without going into the details of published
(Continued on page 370)

Virgin in Lorraine Related in Type to the Saint-Die Virgin,”
Metropolitan Museum Studies, v (1936), 235-258. Claude
Schaefer, La sculpture en ronde-bosse au XIV e siecle dans le
duche de Bourgogne (Paris, 1954). Forsyth, "The Virgin and
Child in French Fourteenth Century Sculpture, a Method of
Classification," Art Bulletin, xxxix (September 1957), 171-182.
J. A. Schmollgcn. Eisenwerth, "Lothringische Madonnen-
Statuetten des 14 Jh.," Festschrift Friedrich Gerke (Baden-
Baden, 1962), pp. 119 -148. M. L. Meras, "La Vierge aux Co-
lombes de Monpezet et la sculpture Toulousaine," La Revue des
Arts, ix (1959), 57-60.

212

Ile-de-France, Paris,
ca. 13 50-1380*

V 24 Passion Diptych . Ivory, H. 10-3/8, W. 9-3/4 inches. The Toledo

Museum of Art, 50.300

One of an original group of ten large ivory diptychs with
scenes of the Passion, the Toledo loan represents a level of
quality characteristic of the best of the remaining nine.
Within its successive arcaded registers is depicted an eloquent
sequence of episodes, each of which is simplified and made
dramatic so that their identification is made easy even to the
most illiterate modem observer. All the elements of a me¬
dieval Passion play are here: triumph, confusion, betrayal, hu¬
mility, prayer, agony, pathos, and prophesy. While the
individual figures have a certain sameness in their physiog¬
nomies, the compositional groups and gestures reflect the
pictorial traditions which earlier found embodiment and en¬
richment in Pucelle's Hours of Jeanne d'Evreux (cat. no.
v-15). This expressive tradition continued in various forms
throughout the fourteenth century. At times it reached espe¬
cially realistic and expressive fervor as evidenced by the
imagery of Jean Bondol in the Hague Bible dated 1371 which
finds close parallels in some of the smaller miniatures in the
Gotha Missal (cat. no. vi-3).

214

CHAPTER SIX

International Style

1350-1364

VI 1 Moulon d’or, Jean le Bon. Gold, Diam. 1-3/16 inches. Obv.: agn.dei.

QVI. TOLL. PECA. MVDI. MISERERE. NOB [and] IOH. REX. Rev.: XPC.
VINCIT. XPC. REGNAT. xpl. imperat. The Cleveland Museum of Art, The
Norweb Collection, 64.372.

Anglo-Gallic, 1360 VI 2 Leopard d’or, Edward III. Gold, Diam. 1-5/16 inches. Obv.:

EDVVARDVS : DEI : GRA : ANGLI : FRANCIE : REX. Rev.: XPC. : VINCIT :
xpc : regnat : xpc : impera. The Cleveland Museum of Art, The Norweb
Collection, 64.373.

Jean le Bon (Jean ii) was captured by Edward, the Black
Prince, at Poitiers in 1356 and taken to England to await
ransom. Jean’s son, Charles v, acted as regent during this
interim. His host in England was Edward ill, who had made
a claim on the French crown in 1328 involving England and
France in the Hundred Years’ War. The royal prisoner was
treated as a royal guest, supplied with luxuries and invited to
tournaments. The Treaty of Bretigny in 1360 fixed 3,000,000
crowns as his ransom. Returning to France, he married his
daughter to a Visconti for a gift of 600,000 golden crowns,
and he also imposed various heavy taxes in an effort to pay
the ransom. He issued the gold franc a cheval , the first coin of
its name, in great numbers for the same purpose. Unable to
complete the payment, he returned to England in January
1364 where he again became a royal captive, dying in April
of the same year.

The two gold coins from the Norweb collection might be
viewed as symbolic of these events, the one being an issue of
the French king and the other being an Anglo-Gallic issue of
the English king and pretender to the French crown, Edward
Hi . 1 Beginning with Louis ix, the French kings had attempted
to establish the pre-eminence of their coinage over the feudal

1 I am indebted to George C. Miles, Chief Curator of the Amer¬
ican Numismatic Society who transcribed the inscriptions. The
remainder of this discussion is based on Joseph Fattorusso, Kings
and Queens of England and of France (Florence, 1953), p. 97,
and John Porteous, Coins (New York, 1964), pp. 68-71.

coinage then in wide use. While Philip iv lost the good name
of the royal coinage by tampering with its alloy—he was
called le rot faux monnayer —he was successful in establish¬
ing a gold coinage where Louis IX, his grandfather, had
failed. The present gold Mouton d’or of Jean le Bon con¬
tinues in this tradition, and like so many Gothic gold coins
what it lacks in subtlety of modeling it makes up in two-
dimensional pattern which gives a very rich effect.

Proportion and line become all important in both coins.
The Mouton d’or’s reverse bears a floriate cross in tressure
with a rose in the center and fleur-de-lis in the four quadrants
surrounded by the inscription. This striking image vies in ap¬
peal with the obverse, which has a handsomely patterned and
silhouetted paschal lamb, holding another floriate cross, and
framed with a near-circle of single arches and the inscription
which reads: "Lamb of God who takes away the sins of the
world, have mercy on us.” Jean’s name is given below the
feet of the lamb: IOH rex. The Leopard d’or issued for Ed¬
ward hi is very similar at first glance except for the substitu¬
tion of the crowned leopard passant left, the double arches
of the frame, and the difference of the inscription which
states the English sovereign’s aspirations only too clearly.
With closer examination, many subtle distinctions are ap¬
parent, as for example on the reverse where the floriate cross
in tressure with a rose in the center is completed with leopards
passant left in each of the four quadrants.

218

VI 3

Paris, ea.1375,

by Jean Bon del and his ateiier

VI 3 Missal } in Latin, for Paris use. Vellum, 164 leaves, H. 10-11/16,

W* 7-11/16 inches. Including leaves added in the 15 th century and
two miniatures attributed to the Bedford Master, ca,1410, The Cleveland
Museum of Art, Mr. and Mrs. William H* Marlatt Fund, 62.287.

This sumptuous manuscript, frequently called the "Gotha
Missal," may have been commissioned by one of the great
fourteenth-century royal bibliophiles. Internal evidence fully
discussed in the bibliography, especially the study based on
the findings of Harry Bober and also the extensive publication
in the Cleveland Museum of Art Bulletin, suggests that it
may have been intended for the private chapel of the Valois
king, Charles v of France (d. 1380)7 Charles was a great
lover of fine books; he is a prime exhibit of what Erwin
Panofsky referred to as "the emergence of a wealthy and cul¬
tured lay society with its concomitants of passionate collecting
and ‘pride of ownership/ ” and "demand for sumptuously
illustrated books/ 1

The style and quality of the miniatures in the Gotha Missal
shed considerable light on the high place it holds within a
large group of manuscripts produced for Charles and within
the more select group of manuscripts accepted today as from
the hand of the Netherlandish artist, Jean de Bruges, called
Jean Bondol, the head of the king's own manuscript atelier
and also his valet de chambre . Stylistically the miniatures in
the Gotha Missal may be divided into two groups of twelve
and eleven miniatures each, even though Bondol may have
made the preliminary and underlying sketches for them all.
The first and finest group of twelve miniatures is character¬
ized by an extremely subtle modeling of the figures, their
draperies and facial features. This is done primarily in terms
of light and dark with occasional accents of color in the shad¬
ing of the faces* This modeling establishes each figure as a
convincing mass within a suggested ambient space. Such
plasticity and painterliness becomes weaker and turns to ele¬
gant, yet more obvious linear means in the second group of
miniatures*

1 Catalogue 100 (New York: H* P. Kraus, 1962), pp. 32-39
(based on the research of Harry Bober), pis* xxiv-xxvii and
four color illustrations on pp. 33, 36-38. All miniatures and the
contents are discussed in detail in William D. Wixom, "A Missal
for a King/' cma Bulletin, L (September 1963), 158-173, 186-
187, repr., three in color*

Panofsky’s description of Bondol's miniatures in a Bible
in The Hague could be applied to the finest group of minia¬
tures in the Gotha Missal: ‘Figures and objects are rendered
with a broad, fluid brush, a . * . pictorial tendency . . * evident
throughout. Strong local colors that would tend to separate
one area from the other are suppressed in favor of subdued
tonality, and the interest is focused not only on the plastic
form, but also on the surface texture of things: on the spe¬
cific tactile qualities of wool or fleecy animals' coats as op¬
posed to flesh, of wood or stone as opposed to metal. " 2

There are no buildings in the Gotha Missal as there are in
The Hague Bible, yet space is suggested by foreshortened
pieces of furniture or hints of a receding ground plane. There
is a sense of limited reality, a convincingness—what Panofsky
calls a "honest straightforward veracity" to Biblical events
staged in an environment with such details as casually hung
altarcloths, crumpled pillows, seats, thrones, lecterns, altars,
chalices, grassy turf, and clumpy trees. All elements are de¬
picted in an appealing pictorial manner and with a sense of
visual delight in nuances of shading and color, tight but con¬
vincing space arrangements, fluid draperies, expressive faces
and subtle contrasts between figures in action and those whose
movement has been arrested.

The debt which Bondol and his atelier of gifted minia¬
turists owe to Jean Pucelle is considerable. Puce lie, as in the
Hours of Jeanne d’Evreux, made pioneering contributions in
his use of grisaille, plastic drapery, stage-like space settings,
and psychological observation (see cat. no* v-15). Bondol
learned and utilized a great deal from Pucelle* In fact, his
style must be understood in part against the Pucelle tradition.
However, Bondol changes and alters this inheritance to fit
his own aims, especially in the direction of greater vigor and
increased observation of nature, including its rustic aspects.
Bondol even takes plastic modeling a step further in more
consistently including the whole figure. He abandons Pu-
(Continued on page 371)

2 Erwin Panofsky, Early Netherlandish Painting (Cambridge,
Mass., 1953), i, 36.

220

Paris, ca.1375

VI 4 Miter. Silk with painting in grisaille, H. 13-3/4 (including lappets:

36-1/2), W. 8-7/8 inches. Paris, Musee National des Thermes
et de l’Hotel de Cluny.

Like the famous Altarcloth of Narbonne in the Louvre, this
Miter is made of white silk and is painted in grisaille. The
technique of painting in shades of blacks and grays has al¬
ready been observed in two manuscripts—the Hours of
Jeanne d’Evreux painted by Jean Pucelle and the Gotha Mis¬
sal with miniatures by Jean Bondol and his workshop (see
cat. nos. v-15, vi-3).

The Miter shows ornate cusped arches with crocketed
gables framing two large scenes on either side depicting the
Entombment and the Resurrection. Below and beneath a
smaller sequence of arches of similar character are busts rep¬
resenting the twelve apostles. The Virgin and Child and a
donor appear on the lappets which hang below. Molly Teas-
dale Smith informs us that another miter, similar to the pres¬
ent one, is listed in the inventory of 1404 for Philippe le
Hardi along with the daily chapelles: une autre mittre de
satin blanc, painctures de noir a y mages} In this context the
exhibited work must be considered with a whole group of
altar furnishings painted in grisaille, known from the inven¬
tories and discussed by Mrs. Smith. These were probably all
intended as chapel adornments for daily Lenten use, as sug¬
gested by a reference in the inventory of Charles v in 1379
which states: Chapelles pour caresme cothidianes blanches.

The authorship of the Altarcloth of Narbonne, once at¬
tributed to Jean d’Orleans, is now simply given to an un¬
known Paris artist. This hand is especially close to that of the
Miter, although the scale and finish of the work is drastically
reduced in the Miter. Both works can be dated in the middle

1 Molly Teasdale Smith, 'The Use of Grisaille as a Lenten Ob¬
servance," Marsyas, viii (1959), 45, n. 7.

of the 1370’s during the reign of Charles v, who is depicted
kneeling with his wife on either side of the Crucifixion in
the larger work. Of the several hands probably reflected in
the Gotha Missal, the hand responsible for the refined style
of the canon frontispieces of the Crucifixion and Christ in
Majesty is closest to the one or two hands represented in the
two painted silks.

The heritage of the emotion-filled Entombment-Lamenta¬
tion scene on both the Altarcloth and the Miter goes back to
Pucclle’s Ducciesque Lamentation in the Hours of Jeanne
d’Evreux (cat. no. v-15). It may be seen to continue and
change in the Petites Heures of John, Duke of Berry, painted
circa 1390; it also appears in the tiny miniature by the Eger-
ton Master in the Hours of Charles the Noble (cat. no.
vi-25). 2

Similarly, the Resurrection scene on the Miter depends on
Pucelle, although without his emotional intensity, as in the
miniature of the Cloisters manuscript. A contemporary paral¬
lel to the Miter can be noted in Jean Bondol’s miniature in
the Gotha Missal, which is a true heir to the psychological
interests of Pucelle. Bondol’s Christ has an inner compulsion
and near anxiety as he stealthily steps out of the tomb and
into the darkness. The artist of the Miter, while more objec¬
tive and without emotional involvement, emphasizes instead
the symmetry of the scene and imbues it with a certain ele¬
gance.

2 See Erwin Panofsky, Early Netherlandish Painting (Cambridge,
Mass., 1958), pp. 23-24, 44, fig. 34. William D. Wixom, "The
Hours of Charles the Noble," cma Bulletin, lii (March 1965),
79, figs. 45 and 46.

222

Languedoc, 2nd half 14th century VI 5 Af/VW, in Latin, for Rome use. Vellum, 402 leaves, H. 15-1/4,

W. 10-5/8 inches. Cambrai (Nord), Bibliotheque
municipale, MS. 150.

When discussing the possible background of the Rohan
Master (cat. no. vi-33), the late Jean Porcher suggested
looking at earlier miniatures whose style might be comparable
in emotional intensity and vivid color. Porcher mentioned the
Crucifixion miniature of the present Missal in this context. 1

However, the writing, the enframing borders, and the leaf-
work were the only elements in this manuscript which Porcher
felt were certainly French in style. The two magnificent
Canon frontispieces—the one with the Crucifixion with the
Virgin and Saint John and angels, and the other with Christ
in Majesty with the Evangelist symbols, together with the
fourteen historiated initials—were for Porcher the work of a
Catalan artist established in the south of France. 2 He com¬
pared the present miniatures with those in the Pontifical de
Pierre de La Jugie in the cathedral at Narbonne. Both manu¬
scripts were for him at once French and Catalan. A replica of
the Crucifixion miniature in another Missal, now in the Ar¬
chives of the Aragonese Crown at Barcelona, was for Por¬
cher a confirmation of the Languedocian origin of the present
manuscript. According to Dorothy Miner, Porcher more re¬
cently grouped this manuscript with several others which he
assigned to Avignon. One of these, the Spencer Officium, is
discussed on page 246 (cat. no. vi-6) . 3

While this splendid Missal contains an escutcheon, de
gueules a bande d’argent, above a cardinal’s hat at the bottom
of the incipit page of the text following the calendar, the

1 Jean Porcher, Medieval French Miniatures (New York, 1959),
p. 70, fig. 77.

2 Les manuscrits a peinttires en France du XIII e an XVI e siecle
(Paris, Bibliotheque Nationale, 1955), p. 67, no. 141.

3 The International Style (Baltimore: The Walters Art Gallery,
1962), p. 67.

original ownership has not yet been determined. The calendar
is a Roman one and the text, as described by Abbe V. Le-
roquais, appears to contain nothing particularly unusual. 4 The
color ensemble, from Leroquais’ descriptions, appears to be
especially striking. The angels in violent anguished move¬
ment beyond the crucifix are set against a cameo blue. Two of
these angels catch the red blood spurting from the sagging
body of Christ hanging on the cross. Leroquais also tells us
that the colors used in the frames for the initials are gold,
carmine, vermillion, and azure.

The confrontation of this manuscript with the Rohan Hours
will undoubtedly bear out Porcher’s first comparison. It will
also provide an opportunity to study Catalan-Languedoc color
relationships and to see these in conjunction with the Spencer
Officium in consideration of an Avignon localization (cat.
no. vi-6). While of a different scale and format, the minia¬
tures of the two southern works may indeed reflect the color
and compositional preference of a single itinerate workshop.
The recent article by Robert Mesuret on panel painting in
Languedoc brings to mind the need for the study of the color
in such manuscript paintings in this larger but still regional
context. Also, the modeling of flesh, as in the Missal’s Christ,
might be seen for its contrasts and similarities with the more
Italianate cross, painted on both faces, from the choir screen
given by Cardinal Godin in 1385 to the Dominican Church
of the Jacobins at Toulouse. 5

4 Abbe V. Leroquais, Les sacrament air es et les missels manuscrits,
(Paris, 1924), II, 318, no. 491.

5 Robert Mesuret, "Les primitifs du Languedoc,” Gazette des
Beaux-Arts, 6 Per., lxv (1965), 2, 6 (no. 19, fig. 5), 30. See
Joan Evans, Art in Medieval France, 987-1498 (London, 1952),
pi. 127.

224

Southern France, VI 6 Hours, in Latin. Vellum, 2 volumes, 132 and 146 leaves, H. 4-1/2,

possibly Avignon, W. 3-1 /2 inches. The New York Public Library, Spencer

last quarter 14th century Collection, MS. 49.

Avignon, the capital of the Popes from 1305-1378, drew to
it many Italian artists, and as a result this center was a bastion
of Italian artistic influence in France, both stylistically and
iconographically. However, for Italy, Avignon became a gate¬
way of French influence in Italy. The real mingling of these
traditions and others in the field of painting did not seem to
take place at Avignon, where they existed only concurrently,
but rather the creative use of traditions from abroad seemed
to find fruition at the courts in the north—at Paris, Dijon,
and in Berry—or in Italy, particularly those in northern Italy
under the aegis of the Visconti. Thus, when a group of manu¬
scripts is assigned to Avignon, our interest may be all the
greater in seeing actual representatives of painting in the
temporary Papal court.

One of these manuscripts, the present Book of Hours,
should really be called an Ofjicium beate Marie virginis, after
the incipil given on folio 22 in the first volume. This work,
in two volumes, contains twelve calendar miniatures, nine
full-page miniatures, and one hundred and twenty-eight his-
toriated initials. Seven spot checks reveal that the work is for
Rome use, as are many Hours in the south of France. The first
volume contains principally the calendar and Officium of the
Virgin. While it has not been possible to determine exactly
all of the contents in time for this discussion, it seems that the
remaining text includes chiefly the Offices of the Cross, of
Saint Catherine, of the Holy Spirit, and of the Dead, as well
as presently unidentified prayers and the Seven Penitential
Psalms and Litany. These offices are all in the second volume.
The first two of them contain a number of historiated initials,
as does the Office of the Virgin. Portraits of the original
owner(s) appear in two of the initials as well as in the large
miniature reproduced (ii, folios 18 and 138 verso). The cal¬
endar miniatures are unusually large for so small an Hours.
(They measure 2 by 2% inches.) They follow the usual
subjects with individual interpretations. Especially fine are
the miniatures for April, May, and November. The April
miniature depicts two fashionably dressed ladies conversing
with a seated and even more splendidly garbed courtier who
holds up a wreath. The setting is in a blooming garden, al¬

226

though part of the background is a delicate rinceau of gold
against an olive green. The May miniature shows a handsome
equestrian falconer prancing across a grassy field before a
wood behind which the rinceaux of gold repeat, this time
against an earthy red ground. The November miniature il¬
lustrates peasants beating down acorns for their hogs at the
edge of a forest. A highly burnished sheet of gold is the back¬
ground for this scene. This background is enriched by a lightly
pricked rinceau pattern, a minute variation of that found in
certain panel paintings, as for example in the panel by Beau-
metz (cat. no. vi-12). The two types of backgrounds, the
gold rinceaux over a colored ground and that of burnished
gold with pricked rinceaux, are the principal ones used in
both miniatures and historiated initials throughout the two
volumes. The chief exceptions are the tesselated backgrounds
of gold, red, and blue with white and black lines for accents
which appear in the calendar and in several of the larger
miniatures.

These full-page miniatures appear mostly in pairs and
there is no text on the reverse, a common and reasonable fea¬
ture due to the semi-transparency of the vellum. It is not
certain whether the large miniatures were part of the original
program of the work or whether they were an afterthought
added to the manuscript to make it more luxurious. The two
subjects in the historiated initials which repeat in the large
miniatures would recommend the second possibility. These
are the subjects of the Annunciation and the Betrayal of Christ
(I, folios 20, 23 verso; II, folios 2, 4). In any case, it is certain
that the same hand was responsible for all of the figural paint¬
ing in both volumes, including the calendar, the initials, and
the series of larger miniatures.

The larger miniatures are the most immediately appealing
feature of the entire work. The facing miniatures of the An¬
nunciation and Enthroned Virgin and Child with a kneeling
former lady-owner shown opposite (i, folios 20 verso, 21)
are much finer and far more striking than reproductions can
allow because of their dramatic color relationships. The An-
(Continued on page 372)

Languedoc, Toulouse, ca.1400 VI 7 Saint Christopher and the Christ Child. Silver, gilt silver, H. 23-5/8,

W. 11-3/4 inches. Provenance: Said to have come from a church at
Castelnaudery near Toulouse. New York, The Metropolitan Museum of
Art, Gift of J. Pierpont Morgan, 1917, 17.190.361.

Saint Christopher with curly hair and beard and dressed in a
short tunic and mantle bends under the weight of the Christ
Child who stands at his shoulder. The Child’s hair is also
tightly curled. He is dressed in a long tunic and blesses the
Saint with his left hand while supporting the orb and cross in
his right. The Saint leans on his staff, which has small sprouts
at the end, and lifts one foot forward through the swirling
water inhabited by engraved fish represented on the base. The
remainder of the hexagonal base is in a pseudo-architectural
form with decorative flying buttresses punctuating the cor¬
ners. By their small size, these buttresses accentuate the in¬
ferred giantism of the group above. The box at the front was
for relics.

All of the elements of the Saint Christopher story are em¬
bodied in this silver sculpture including the palm tree staff
with its sprouts—a reference to Christ’s promise that his
staff when planted would bear flowers and fruit. The subject
of Saint Christopher, who discovered that he was carrying
the Christ Child, was especially popular in the fifteenth cen¬
tury. The earliest dated woodcut print (1423) is of this sub¬
ject.

The present sculpture is an exceedingly rare, if not unique,
large metalwork example of this subject. It bears the Tou¬

louse mark, tol, fleur-de-lis above in reserve, an S shape, an¬
other mark of indistinct shape, probably ic or po with a heart
between. The sculpture is executed in five parts: the socle, the
flood, the Saint, the Christ Child, and the staff. A nineteenth-
century replica is preserved in the church at Lasbordes
(Aude). The marks on it, a lion passant, indicate that it was
made in London.

It is tempting to consider the original work shown here
as a continuation of a Toulouse tradition of sculpture first
seen in the monumental apostles executed between 1321 and
1348 at the behest of Jean Tissendier for his sepulchral chapel
in the church of the Cordeliers at Toulouse. The treatment of
the large head with its full beard and curly hair as well as the
drapery is very similar to some of these figures. Visitors to the
exhibition might compare Saint Christopher’s head with the
Head of an Apostle, which is very close to this Toulouse
series (cat. no. v-11). The peculiar strength of all of these
sculptures sets them aside from the more courtly, elegant
style which dominates so many works from Champagne and
the Ile-de-France (see cat. nos. v-21, 22, 23). The angular
movement of the Saint Christopher has a parallel in the fig-
ural movement of some of the historiated initials in the Avig¬
non Hours and the Languedocian Missal (cat. nos. vi-5, 6).

228

Central Loire Valley,
ca.1385-1390

VI 8 Madonna and Child. Limestone, with traces of paint, H. 53 inches.

The Cleveland Museum of Art, Purchase from the J. H. Wade
Fund, 62.28.

Tall in proportion and inclining gently to one side, this lime¬
stone Madonna and Child, for all its simplicity, is of monu¬
mental elegance and compares with distinction to many of
the finest works of this subject and size from late fourteenth-
century France. Smoothly swelling and concave drapery folds,
with restrained yet appealing curvilinear edges, envelope the
mass of this gracious Madonna, whose weight is borne over
her left foot, her right foot resting off to the side of a pillow¬
like socle. Her features are distinct and express a noble or
courtly character; a high forehead, arched brows, straight
and narrow nose, smooth and full cheeks, and thin lips placed
low over a firm but small chin. These features are framed by
her wavy hair, clearly cut in long parallel lines hanging over
her shoulders and down her back. The features of the Child
are similar although adapted to a more youthful subject and
expressive of a bright, doll-like character, in contrast to the
benign nobility of the Madonna. The hair of the Child is
also in obvious contrast with that of the Madonna; it is com¬
posed of tightly opposing curls above the sides of the head
instead of the long tresses of the larger figure. Both the Ma¬
donna and the Child may have originally had crowns of wood
or metal, as allowance was made for them by the flatter and
more uniform treatment of the waves of the hair over the top
of each head, a feature which may be seen in other French
Madonnas.

While evidence suggests that the Madonna’s mantle was
originally a light blue with an inner lining of greenish blue
and a red undergarment, it is conceivable that the sculpture
may have been originally white except for the flesh tones and
gold leaf in the hair, traces of which still remain. If the Ma¬
donna’s mantle had been originally white, it may have had
the added decoration of a gold border and a scattered flower
motif, possibly in imitation of marble sculptures, which today
retain this type of decoration.

Like the earlier and smaller Virgin from the Cottreau col¬
lection (cat. no. v-23), the present, more monumental work
must also be considered against the background of the de¬
velopment of this subject in the fourteenth century in both the
Ile-de-France and in the outlying provinces. The character¬
istic style of Madonnas produced in Paris circa 1340-1350
is clearly reflected in the iconography and style of the present
figure. However, the fullness of form and elegant naturalism
of the latter’s drapery style suggest a later dating—i.e., some¬
time in the second half of the fourteenth century. This tends
to be corroborated by the combined features of the Ma¬
donna’s enveloping mantle, which negates the need for de¬
picting a girdle, the intricate folds of the gown about her
waist, and the half-nude Christ Child, who in the absence
of a tunic, is wrapped loosely in a swaddling cloth. Individual
iconographic features such as the fragmentary flower-stalk
scepter held in the Madonna’s right hand or the bird held by
the Christ Child are too popular and widespread to offer
suggestions which might help in dating or localization.

Comparison of three Madonnas in the central Loire Valley
at Lorris (Loiret), formerly at la-Cour-Dieu (Loiret), and at
Monceaux-le Comte (Nievre), demonstrates certain regional
features which also are evident in the Cleveland sculpture,
admitting an attribution of it to the same general area. Con¬
sidered in relation to the successive sculptures attributed to
Andre Beauneveu, this regional style appears to be a natural
outgrowth of this great Franco-Netherlandish sculptor’s
style. This influence must have been felt in Berry and in the
central Loire area as a result of Beauneveu’s work for John,
Duke of Berry. 1

1 See for illustrations of the comparative works as well as a fuller
discussion with documentation, William D. Wixom, ”A Four¬
teenth Century Madonna and Child,” CMA Bulletin, L (January
1963), 14-22.

230

Berry, Bourges, ca.1400-1405

VI 9 W<indow Panels with Prophets Isaiah, David, Daniel, and Micah.

Stained glass, H. 82-1/2, W. each 21-1/4 inches. Provenance: Sainte-
Chapelle at Bourges. Bourges (Cher), Depot de la Cathedrale de Saint Etienne.

Made before 1405 for the chapel of the palace of John, Duke
of Berry, in Bourges which was destroyed in the eighteenth
century, the series of stained-glass panels were incoherently
installed in the nineteenth century in the windows of the
crypt of the cathedral. The windows have since been removed
and restored by M. Chigot, who has also reassembled them
as best possible in their original order. The present ensemble
is composed of four vertical sequences of three panels each.
Each of the original windows was much higher, by two and
a half panels which continued the Gothic architectural can¬
opies with gables ornamented with crockets, finials, and
tracery work. The four vertical ensembles shown here come
from two separate windows. The outer sequences, showing
Isaiah at the left and Micah at the right, belong in similar po¬
sitions to another window. The two central figures with their
canopies probably belonged together.

The iconographic program of the Duke of Berry’s chapel
windows was that of the apostolic Credo, particularly dear to
him. The windows therefore presented the dialogue between
the prophets and the apostles, a subject which Emile Male
has beautifully discussed. 1 The theme was repeated again and
again in the Duke’s commissions in his Grandes Heures (Bibl.
Nat. MS. lat. 919) or in the stone Prophets which stood in
the same chapel as these windows. Like the sculptures, the
stained-glass prophets hold banderoles. In the present series
of prophets, the banderoles are painted with inscriptions from
the prophesies of the prophets depicted. For example, David
presents Psalm 31:11.

The apostles not shown give a corresponding passage of
the Credo. The prophets are clearly discernible in the larger
sequence by their turbans and hooded mantles. The apostles
are bareheaded as well as barefooted.

The style of the windows of the Sainte-Chapelle at Bourges
is also that of several windows in the cathedral, as in the

1 Emile Male, Art religieux de la fin du moyen-age en France
(Paris, 1922), pp. 249-251.

Pierre Trousseau and Simon Aligret chapels. The designs for
the figures in the Duke’s windows, like the stone prophets
for the same ensemble, have been attributed many times to
Andre Beauneveu, native of Valenciennes, and to Jean de
Cambrai, both sculptors called to Bourges in the service of
the Duke. The basis of the attribution of window designs to
Beauneveu is this artist’s miniature portraits of prophets in
the Psalter completed for the Duke shortly before 1385 (Bibl.
Nat. MS. fr. 13091). Of the four figures in the exhibited
windows, the two center ones showing David and Daniel,
approach most closely Bcauneveu’s miniatures as well as sev¬
eral of the limestone prophets attributed to him, especially
the Ezekiel sculpture which can be dated just after the minia¬
tures. Jean Froissart, referring to the year 1393, in his Chron¬
icle tells us that the Duke of Berry gave "orders for sculptures
and paintings to the Master Andre Beauneveu, who was well
qualified because no one was superior to him and no one was
equal in any land; nor is their any master by whom there re¬
main so many good works in France or in Hainaut, where he
was born, or in the Kingdom of England.’’ 2 In relation to the
Cleveland limestone Madonna (cat. no. vi-8), we noted the
influence of Beauneveu, and it may be rewarding to compare
the elegant, fluid drapery of the Madonna sculpture with the
similar feature in the David window in particular.

In any case, the windows and indeed the entire chapel were
part of many artistic commissions which the art-conscious
Duke instigated. His chapel, with his tomb much like those
at Dijon (see cat. no. vi-21), must have been a rich and noble
feast of color, line, and form. The Duke’s tomb figure, now
in the crypt of the cathedral, once looked up at the assembled
references to the prophesies of the prophets and the apostolic
Credo embodied in stained glass and in the carved stone.

2 English translation quoted from James J. Rorimer and Margaret
B. Freeman, "The Nine Heroes Tapestries at the Cloisters,"
Metropolitan Museum of Art Bulletin, vn (May 1949), 258.

232

Paris, end of 14th century

VI 10 Two Kneeling Carthusian Monks. Marble, 66.112: H. 10-1 /8,

W. 5-1/4 inches; 66.113: H. 9-1/2, W. 5-1/16 inches. Provenance:
Chartreuse de Paris ( ?). The Cleveland Museum of Art, John L. Severance Fund,
66.112, 66.113.

Two Kneeling Monks, hands in an attitude of prayer, look
upward to some now-lost object of veneration. The original
context of these two relief sculptures, both flat on the back,
must have been a devotional one and not clearly a funerary
one as in the case of the free-standing marble mourners
made nearly a generation later for the tomb of Philip the
Bold at the Chartreuse de Champmol near Dijon (cat. no.
vi-21). The kneeling figures represent monks of the Car¬
thusian order, for they are shown wearing the scapnlaire of
that order with its two panels connected by a band at the
sides.

The Kneeling Monks are less monumental and massive
than the Champmol mourners, and emphasize instead a lyri¬
cism in the soft modeling of the draperies, especially evident
in the folds falling about the legs and feet. They reflect the
stylistic features of the elegant art of Paris in the last quarter
of the fourteenth century. They are to be compared in their
lyricism with the kneeling priest in the first miniature by
Jean Bondol in the Cleveland Museum’s Gotha Missal of
circa 1375. They are also closely related to, but are not from,
the same workshop which produced the larger marble royal
portrait figures in the Metropolitan Museum of Art 1 and the
sculptural fragments from a Retable, formerly in the Sainte-
Chapellc of Paris and now in the Louvre.

The Kneeling Carthusian Monks are of interest beyond
their qualitative and stylistic position. Aside from four ex¬
amples on the Champmol tombs, they are the only known
existing sculptural representations of Carthusian monks from
fourteenth- and fifteenth-century France. This is especially
remarkable because drawings and old engravings demon¬
strate their former frequency in sculpture. Also the Cleve¬
land Monks are rare as figures kneeling in prayer. The only
other examples of kneeling figures known in French sculp¬
ture of the same period are the royal portrait figures in the
Metropolitan and a stylistically related kneeling figure of a

1 Pierre Pradel, ”Sur trois priants royaux du XIV e conserves au
Metropolitan Museum,” Miscellanea Prof. Dr. D. Roggen
(Antwerp, 1957), pp. 213-218.

lady in prayer from the Micheli collection and now in the
Musee Mayer van den Berg in Antwerp. 2 Kneeling Carthu¬
sian monks appear on several occasions in extant paintings
as in the panel by Jean de Beaumetz and assistants (cat. no.
vi-12) and in the frontispiece for the Canon of the Mass of
a lost Missal also in the Cleveland Museum collection. 3

Intriguing questions arise as to the original setting for the
marble Carthusians. Germain Seligman has plausibly pro¬
posed that they may indeed come from the destroyed Char¬
treuse de Paris. In this Carthusian foundation Mr. Seligman
has identified three possible settings in which the Cleveland
Monks may have played a part. Their devotional pose sug¬
gests, first of all, they may have been placed together or sep¬
arately in one or two cells and in adoration of the Virgin or
the Crucifixion. A painted parallel for this may be seen in
the Beaumetz panel thought to have come from one of the
cells at the Chartreuse de Champmol. Aubin-Louis Millin
(1759-1818), who saw the Chartreuse de Paris before its
destruction after the Revolution, described the cells as deco¬
rated with paintings and sculptures: 'Les cellules etoient
fort agreables a voir par la proprete qui y regnoit; quelques-
unes meme etoient ornees, et renfermoient des tableaux et
des statues de nos plus habiles artists.” 4 Although both of
the Monks were intended to have been placed on a ledge or
some other horizontal support, they were not necessarily
placed together in the same setting, as their flattened backs
are treated differently. One is nearly smooth and the other is
roughly scored, possibly to aid its adherence by mortar to a
wall behind it.

The second possible setting was an architectural one. Mil-
continued on page 374)

2 Jozef de Coo, ”L’Ancienne collection Micheli au Musee Mayer
van den Bergh,” Gazette des Beaux-Arts, 6 Per, lxvi (December
1965), p. 351.

3 cma Bulletin, L (September 1963), 202-203, no. 17, repr.
p. 199.

4 Aubin-Louis Millin, Antiquites nationales (Paris, 1790-1799),
V, 60.

234

Ile-de-France, Paris, VI 11 Death, Assumption and Coronation of the Virgin. Vellum, grisaille,

ca. 1390-1400 H. 25-1/2, W. 12-7/8 inches. Paris, Musee du Louvre, Cabinet

des Dessins.

Once in the collection of the Florentine art historian, Filippo
Baldinucci, this very large drawing was formerly thought to
have been an Italian work. It is now accepted as a French
masterpiece of the late fourteenth century, probably from
Paris. The technique is actually that of grisaille painting com¬
parable to that used by Jean Pucelle, Jean Bondol, and the
artist of the Cluny Miter, all shown in the present exhibition
(see cat. nos. v-15, vi-3, 4). Paul Durrieu gave the present
work to Andre Beauneveu, the sculptor and painter for John,
Duke of Berry, among others. Beauneveu completed the
Duke’s Psalter in 1385 with its semi-grisaille portraits of
prophets. R. de Lasteyrie rejected this attribution but com¬
pared the Louvre drawing with other works produced in
Paris at the same time. P. Lavalee saw in it the influence of
Sienese work and a similarity to certain North Italian draw¬
ings. In finish and in subtle modeling it is to be compared
especially with the Altarcloth of Narbonne in the Louvre,

even though it is by a different hand, the figures here being
more idealized and without emotional expression.

The subject of the present object in its entirety is the Glori¬
fication of the Virgin. In the lower half the episodes begin
with her death; her assumption takes place in the center where
she is received by Christ with a retinue of angels, and at the
top she is crowned in the presence of the Trinity and music¬
making angels. The work may be a rare, if not unique, design
or project for a stained-glass window.

The nearly innocuous elegance of this handsome piece,
together with its subtle and fluid modeling, ally it with works
on the periphery of Andre Beauneveu, such as the Cleveland
Madonna and Child sculpture (cat. no. vi-8) and the
strangely ethereal full-page frontispiece miniatures added to
the Tres Belles Heures of the Duke of Berry now in Brussels
(MS. 11060-61).

236

Burgundy, ca. 1390-1395
by Jean de Beaumetz,
active 136l-died 1396

VI 12 Calvary with a Carthusian Monk. Oak panel, H. 22-1/4, W. 17*15/16
inches. Provenance: Chartreuse de Champmol, near Dijon. The
Cleveland Museum of Art, Purchase, Leonard C. Hanna Jr. Bequest, 64.454.

The exact birthplace of Jean de Beaumetz is not known, but
as he came from Arras, it is probable that he was born in and
derived his name from either Beaumetz-les-Loges or Beau-
metz-les-Cambrai. He is recorded in Valenciennes in 1361,
where he knew Andre Beauneveu; he went to Paris, where
on May 13, 1375, he entered the service of Philip the Bold,
Duke of Burgundy, as court painter and was sent to Dijon.
He worked on the vaulting of the Carthusian monastery at
Champmol from 1384 to 1387. From 1388 to 1391 he exe¬
cuted paintings in Burgundy in the chapel of the Chateaux
at Argilly, and in several rooms and the oratory of the castle
of Germolles. He also worked on paintings for the "Angel’s
Chapel” and the church of the Carthusian monastery. None of
these works have survived. In 1393 Philip the Bold sent him
with Claus Sluter to study the paintings and sculpture which
Andre Beauneveu was working on for the Castle of Mehun-
sur-Yevre for the Duke of Berry. He directed the execution of
twenty-four votive pictures of unidentified subjects for the
cells of the Carthusian monks at Champmol, and in 1390 one
of the several altarpieces for the monks’ chapel was erected.
After 1377 he is referred to in the records as Valet dc Cham-
bre to Monseigneur le Due. He died in 1396. Being court
painter to the Duke of Burgundy, he had an active workshop
with as many as nineteen assistants in 1388; two of the more
important of these assistants were Jehan Gentil (who was re¬
sponsible for grinding pigments) and Girard de la Chapelle.
In many of the invoices for the building of the Chartreuse dc
Champmol, the original contracts and documents between
Jean de Beaumetz and Duke Philip may be found. These are
preserved in the Archives of the Court of Burgundy. 1

1 See the Archives Dcpartemcntales de la Cote-d’Or at Dijon
(B.4422, fol. 22), Bernard and Henri Prost, hiventaires inobi-
liers et extraits de comptes des Dues de Bourgogne de la Matson
de Valois (2 vols.; Paris, 1902-1913), and C. Monget, La Char¬
treuse de Dijon (3 vols.; 1898-1905). The present discussion is
based on that of Nancy Coe Wixom prepared for the forthcom¬
ing catalogue of paintings and manuscripts in the Cleveland
Museum prior to 1500.

Until Charles Sterling published his illuminating study in
1955, 2 no work could be assigned with any degree of cer¬
tainty to Jean de Beaumetz. Sterling proposed that the Cleve¬
land panel, then in the Wildenstein collection, and a similar
Calvary in the Chalandon collection, also with a Carthusian
monk, were both two of the twenty-six paintings ordered
from Jean de Beaumetz in 1388 for the monks’ cells in the
Chartreuse de Champmol by Philip, Duke of Burgundy (see
cat. no. vi-21). The two panels differ in the modeling and
posture of each of the figures, and their gold backgrounds are
not the same. That of the Cleveland panel has two stippled
foliated and floriated Trees of Life flanking the cross, a sub¬
ject fully discussed by Henry S. Francis. 3 Nevertheless, the
two panels closely resemble each other in color, composition,
and iconography, as well as in their size. The Cleveland panel
is especially moving in its sensitive harmonies of nearly trans¬
parent shades of pink, blue, green, and white. The lyric
pathos of the subject is fully embodied not only in color but
also in curvilinear motifs which repeat and vary throughout,
accentuating a mood of ineffable sadness and sense of pain,
made more acute in the blood-red accents on the central figure
of the dead Christ. The mood is basically akin to that ex¬
pressed in many other International Style works—the Depo¬
sition miniature by the Egerton Master in the Hours of
Charles the Noble and the ivory Meditation on the Passion,
to mention only a few examples (cat. nos. vi-25, 16).

The present panel painting and the similar one in the
Chalandon collection can be related, according to Sterling,
with the records of a merchant named Thevenin de Sens in
Dijon, from whom Beaumetz ordered the necessary gilding
for the panels in 1389. Another document indicates the de¬
livery of twenty-six panels whose measurements correspond
(Continued on page 374)

- Charles Sterling, '’Oeuvres retrouvees de Jean de Beaumetz,
Peintre de Philippe dc Hardi,” Musees Royaux des Beaux-Arts
Bulletin , iv (1955), 57-81.

3 Henry S. Francis, "Jean de Beaumetz: The Calvary with a Car¬
thusian Monk,” cma Bulletin, Liu (November 1966).

238

Normandy (?), VI 13 Calvary Group with the Fainting Virgin. Wood, H. 39H/2, W. 22-7/8

second half 14thcentury inches, Lotiviers (Eure), eglise de Notre-Dame.

The Virgin swoons, supported amidst a cluster of mourners
who were gathered at the foot of a now-lost crucifix. The
subject and composition may be compared with a similar
group in the panel painted by Jean de Beaumetz for one of
the cells at the Chartreuse de Champmol (see cat no. vi-12).
However, unlike the painted group, the wood composition
contains the figure of Saint John the Evangelist next to and
supporting the Virgin's left hand. The presence of Saint John
suggests that the sculpture was originally balanced by a lost
centurion group on the other side of the cross.

The Louviers group is remarkable for its low-relief, ex¬
quisite illusionism. Elongated draped figures are carved in

such a way that the space intervals and the separate masses
have a reality yet also exist within a single relief context. The
curvilinear drapery edges and the undulating folds create a
surface rhythm which emphasizes the frontal plane of the
whole group and is probably characteristic also of the entire
retable of which this relief was originally a part.

The expression of grief is typically French in its restraint.
The pathos is moving but not overwhelming; it declines to
follow the emotional intensity of German and Austrian
works. This is an ideal symbol of grief at Calvary; eloquent
but also elegant.

240

Late 14th century

VI 14 The Annunciation. Panel, H. 13-7/8, W. 10-1/2 inches with frame.

Inscriptions: [on band held by angel] avegraciaplena dominus
tecum; [on the halo of the angel] sanctus gabriel archangelus dei; [on the halo
of Mary] [ecc\ e dcilla domini pat michi secudu verbu tuurn. The Cleveland
Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 54.393.

Frequently reproduced, the Annunciation panel formerly
in the Sachs collection, has rarely been noted for the decora¬
tion on its reverse. R. van Luttervelt was the first to point out
the proximity of the coat of arms on the back to those of the
House of Hainaut. 1 Mojmir Frinta, in his recent study on
punch marks, noted that the fleur-de-lis motif liberally used
on the reverse also occurs repeatedly in fourteenth-century
Sienese painting. 2 3 Other punchings both on the front and the
back occur on the "small Bargello Diptych" in Florence.

It is with this latter work that the Cleveland Annunciation
has the closest stylistic parallels, as pointed out by Friedrich
Winkler in 1927. 3 Winkler, joined by Otto Piicht, 4 felt these
panels were painted by the same hand. Wolfgang Stechow
doubts this because "of a strong difference in temperament
and composition" and because the Cleveland panel "looks
'more French.’ " 5 Dr. Stechow has noted the motif of the
sliding Christ Child in the Annunciation tapestry now in the
Metropolitan Museum. A similar motif is found between the
bust of God the Father and the Virgin. The tapestry was
probably woven at Arras in Artois just south of Hainaut and,
as discussed by Erwin Panofsky, it is related to Melchior
Broederlam, the artist from Ypres in Flanders who painted

1 In a letter dated April 18, 1961.

2 Mojmir Frinta, "An Investigation of the Punched Decoration of
Medieval Italian and Non-Italian Panel Paintings," Art Bulletin,
xlvii (1965), 264.

3 Friedrich Winkler, "Ein unbekanntc franzosisches Tafelbild,"
Belvedere, xi (1927), 6 ff.

4 Otto Pacht in Burlington Magazine, xcvm (1956), 113-

5 Quoted from Dr. Stechow’s preparatory discussion in the forth¬
coming catalogue of paintings before 1500 in the Cleveland

Museum.

the great altar wings commissioned by Philip the Bold for the
Chartreuse de Champmol. Still another point of comparison
can be suggested in the two full-page frontispiece miniatures
added to the Tres Belles Heures in Brussels (MS. 11060-
61), one of which depicts a seated Virgin and Child whose
modeling, facial details, hair, and proportions (especially
notable in the extensive torso) are somewhat similar even
though the miniature stresses the curvilinear rhythms of the
draperies. 6 Another notable point is the curious distortions of
human limbs in both works. In the panel this is evident in the
great length of the arm of the angel as it curves around be¬
hind the lectern. In the Brussels Hours, near the kneeling
portrait of the Duke of Berry in the miniature facing the
Virgin, is a depiction of Saint John the Baptist with a
strangely dangling left leg. The two frontispiece miniatures,
different in character from the remainder of the manuscript,
have been variously attributed to Andre Beauneveu and Jac-
qucmart de Hesdin, both Netherlandish artists who worked
for members of the Valois family in France.

All of the various comparisons cited seem to create an ar¬
tistic ambiance which revolves around the work of artists
from southern Netherlandish origins in the Hainaut, Flan¬
ders, and Artois who gave mature expressions of their artistic
sensitivities mostly in France and for the French courts. The
refinement of color, pattern, and line producing an elegance
and tasteful splendor imbued with an intimate lyricism are
elements or qualities of the court art which flowered in France
under the Valois circa 1400. For these reasons, we may still
agree with some authors that the Cleveland panel was pro¬
duced in Paris.

G Discussed and reproduced in color in L. M. J. Delaisse, Minia¬
tures medievales (Geneva, 1959), pp. 90-95, pis. 19, 20.

242

Ca.l400

VI 15 Virgin and Child Enthroned , Drawing on boxwood, H. 2-3/4, W.

2-3/4, D. 1/32 inches. New York, Pierpont Morgan Library, M. 346a.

This tiny drawing on the prepared ground of a thin sheet of
boxwood has been completely eclipsed by the larger series
of five drawings on boxwood, a six-leaf pattern book also
owned by the Morgan Library, which was published as by
Andre Beauneveu in 1906. 1 It shares the same drawing tech¬
nique, probably silverpoint, and is undoubtedly roughly con¬
temporary to the larger work which has a long vertical for¬
mat, The hand who produced the present drawing, probably
also a pattern drawing, is completely different. Without any
known history, the apparently unpublished smaller work is
here illustrated for the first time.

The Virgin is seated on an architectural throne not unlike
those in Beauneveu’s Psalter (BibL Nat. MS. fr. 13091),
While the single boxwood drawing lacks the sculptural char¬
acter of Beauneveu’s painted figures, it is perhaps closer to
him than the five drawings on boxwood. The throne in the
present work is especially similar to one shown on folio 25

1 Roger Fry, "On a Fourteenth Century Sketchbook/' Burlington
Magazine , x, no, 43 (1906), pp. 32-38. See also Charles Park-
hurst, "The Madonna of the Writing Christ Child/' Art Bulle¬
tin, xxm (1941), 300-301, fig. 33^ with additional bibliography.

verso of this manuscript. There are also several parallels with
the miniatures as a group in the details of the drapery, hair,
pose, and proportions despite the differences of the subjects.
The intimacy and sketchy hesitancy of the drawing remove
it to an entirely different realm from that of the highly fin¬
ished frontispiece miniature of the Tres Belles Heures of
John, Duke of Berry, in the Brussels Royal Library (MS.
11060-61). The Virgin with the writing Christ Child, the
first of the five drawings on boxwood, is so close to this min¬
iature, as first suggested by Roger Fry, that they might be al¬
most by the same hand. In contrast, the light and dark model¬
ing and the flickering linear character of the present single
drawing seems closer to the Cluny Miter {cat. no. VI-4),
which because of its different textured ground and larger
scale seems a little coarser.

If the present work is indeed a pattern drawing, we may
some day find dues as to where it was used as the model.
In any case, we can enjoy it for its exquisite and minute ex¬
cellence, a treasured representative on a tiny scale of the
International Style.

244

End of 14th century

VI 16 Meditation on the Passion. Ivory, H. 3-3/4 inches. Baltimore, The
Walters Art Gallery, 71.288.

Six bearded apostles are clustered closely on a single seat;
their heads hang pensively in sadness. The bare feet of the
three foremost apostles and their books are the only attri¬
butes of the group. The heads of all six are covered by their
mantles.

Philippe Verdier has postulated that this group comes from
an altarpiece dating from the end of the fourteenth century,
and is one section of the Passion told in a series of applique
figures carved in ivory. However, Verdier has also noted the
puzzling features of the iconography which combine elements
of the sleeping apostles at Gethsemane preceding Christ’s
arrest, and the Pentecost when they traditionally appear seated
with books. These motives, as observed by Verdier, derive
from fourteenth-century diptychs. One such diptych from the
Toledo Museum is included in the exhibition, and a com¬
parison can be made with the sleeping apostles at Gethsemane
which appears on the right-hand leaf (cat. no. v-24). The
present group, to quote Verdier, "is distinguished not so
much by an increased realism—a general trend in the French

ivories after the middle of the fourteenth century—as by the
isolation of the subject and its treatment as a theme of medi¬
tation.’’ 1 This small ivory expresses a pathos and a tense in¬
trospection rarely found in the ivory medium and more fa¬
miliar in painting, as in the miniatures by Jean Bondol in the
Gotha Missal or in sculpture especially in Burgundy (see
cat. nos. vi-3, 21).

These works are unfamiliar because they have been little
studied and because they were questioned by Raymond Koech-
lin in his standard book on ivories. Verdier has mentioned
several reliefs of similar dimensions and style preserved in
the Musee du Ponthieu in Abbeville and the Victoria and Al¬
bert Museum. Another example from the Micheli collection
and now in the Musee Mayer van den Bergh in Antwerp
shows a seated Christ mocked by soldiers. This slightly larger
ivory is of related style and function.

1 The International Style (Baltimore: The Walters Art Gallery,
1962), p. 114.

246

Rouen, second half 14th century

VI 17 Grille. Wrought iron, H. 86-5/8, W. 70-7/8 inches. Provenance: Jube
of the Cathedral of Rouen. Rouen (Seine-Maritime), Musee des
Antiquites de la Seine Inferieure.

Earlier generations recognized the glory of French medieval
wrought-iron work. The Musee Le-Secq-des-Tournelles in
Rouen is still a record of this taste and recognition. One of its
most beautiful and justly famous works is the thirteenth-cen¬
tury grille from the Abbey of Ourscamp.

The present Grille, dating from the second half of the
fourteenth century and coming from the jube in the cathedral
of Rouen, is also worthy of our admiration and study. Little
known outside Rouen, it is a marvel of intricate clarity and
order. It is graceful, varied, and elegant. Rosettes alternating
with mask-like faces terminate addorsed volutes in heart-like
configurations within lozenges in the upper portion of the
Grille. The lower section makes a play on these motifs but in
a larger, more powerful way. The playfulness of the whole
and its light animation is analogous in feeling to the marginal
vines and leafwork of contemporary illuminated manuscripts.

248

Late 14th century

VI 18 Table Fountain. Silver gilt and translucent enamel, H. 12-1/4,

W. 9-1 /2 inches. Provenance: Said to have been found in a garden in
Istanbul. The Cleveland Museum of Art, Gift of J. H. Wade, 24.859.

Fanciful and intricate, logical and ordered, this Table Foun¬
tain gives us a vivid idea of the character of a whole group of
such automata listed in Flemish and Burgundian inventories.
We are also reminded that Christine de Pisan stated that
Charles v had an imposing collection of table fountains.
Thirty-eight appear in the inventory of Louis I, Duke of An¬
jou. One of these is described as a tabernacle outre de ma-
f onnerie a plusters tornelles and another one as a pillier de
tres belle magonnerie, fait cotnme en maniere de clochier a
plusieurs pi lien et pinacles et fenestrages esmaillies}

The Cleveland Fountain, once thought to be a uniquely
preserved example, can now be considered with several other
works which are either fragmentary or have been adapted to
other purposes. One of these is the handsome central column
with buttresses surmounted by a wild man, two beasts, and
flanking canopied figures, a fragment now in the Mayer van
den Bergh Museum in Antwerp. Charles Oman discovered
another example adapted as a monstrance in the convent of
S. Pelayo at Compostella in Spain. The older central part of
this example is an openwork column on a rectangular base.
Above is supported a bowl rimmed with quadrilobed open¬
work and set with four lion-headed spouts in its sides. Gun¬
ther Schiedlausky has wondered whether the large clock "of
Philip the Good" at Nuremburg may originally have been a
table fountain. The clockwork is of later date than the ar¬
chitectural canopy. However, the Cleveland work by its near-
completeness (it lacks only a base and basin) and its clear
purpose, is certainly the most important and appealing docu-

1 Quoted in The International Style (Baltimore: The Walters Art
Gallery, 1962), no. 126.

ment of such table automata. N. M. Penzer was careful to
point out that the present work, a table centerpiece, was not
to be confused with wine fountains. 2

The translucent enamels on the central parapet depict mu¬
sicians and grotesque creatures sipping at fountains. On the
parapet below, similar grotesque creatures in enamel tightly
fill trilobed plaques. All these enamels recall the Paris manu¬
script tradition of Maitre Honore and Jean Pucelle (see cat.
nos. v-14, 15) and the enamel work which reflects their style
(see discussion under cat. no. v-12). They especially recall
a cruet with the fleur-de-lis Paris stamp now in Copenhagen.
This work, datable in the second quarter of the fourteenth cen¬
tury, contains in its smaller lunette panels images in enamel
remarkably similar to those on the present piece which prob¬
ably follows it in date, perhaps at the end of the same century
although it could be as early as circa 1370, the date suggested
by Joseph Destree.

Associated with the Burgundian court and its envoys to
the Holy Land and to Constantinople, where it is said to have
been found in a garden, the Cleveland Fountain has gener¬
ally been assigned to some unknown Franco-Burgundian
workshop. In some architectural features, but not icono-
graphic ones, it bears comparison with Claus Sluter’s Well of
Moses created for Philip the Bold, Duke of Burgundy, at the
Chartreuse de Champmol. However, because of its relation¬
ship to Paris traditions and especially to the Paris-made cruet,
a Parisian workshop should not be ruled out.

2 N. M. Penzer, "The Great Wine Coolers —II,” Apollo , lxvi,
no. 391 (September 1957), fig. ii on pp. 40, 41.

250

Ca.l400

VI 19 Tivelve Medallions. Gold, encrusted enamel on gold, precious and

semi-precious stones, pearls, Diam. of central medallion, 1-3/4 inches.
The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 47.507.

These splendid Medallions, mounted with modern connect¬
ing chains with pearls, are said to have been offered to the
Virgin of Louvain by Margaret of Brabant, daughter of Duke
Jean in and wife of Louis de Male, Count of Flanders (died
1384). While there has as yet been no clear confirmation of
this dealer’s tradition, the Medallions do recall the descrip¬
tions of jewels, especially garment clasps, which are given in
early account books of the Dukes of Burgundy. Philip the
Bold, whose wife was the daughter of Margaret of Brabant,
seems to have lavished such jewels on his family, friends,
servants, his brother Charles v, and even the Pope.

The technique includes not only gold mounts for semi¬
precious jewels, gold oak leaves with veins, clustered station¬
ary pearls on prongs, pearls hanging loosely in cups, some
green and red translucent enamel, but most important, thick,
incrusted opaque enamel on gold. The incrusted enamel is
white and appears on the petals of some of the flowers. The
chief glory of the work is the tiny gold figurine with this
enamel, a rare example of emaile en ronde-bosse. This repre¬
sents a little lady with a green diadem, red lips, black eyes,

gold hair and fingers, and a white gown which covers her
almost completely. It is particularly suggestive of the old
accounts, for in 1393 when Mary, the daughter of Philip the
Bold, married the Duke of Savoy, she is said to have given
her husband a 'golden clasp with a white lady.” 1 Similar
medallions with different subjects are known in Vienna and
Essen.

Philippe Verdier has suggested that if this work "was
associated with the house of Burgundy, it was executed in
Paris, because Paris became during the reign of Charles vi
(1380-1422) the center that provided not only the French
court but the Church and the nobility throughout Europe with
a new kind of jewelry, in which enamel, and especially white
and crimson, was incrusted on gold reliefs en ronde-bosse and
associated with leaf patterns in gold, white flowers and clus¬
ters of pearls often in groups of three.” 2

1 Flanders in the Fifteenth Century. Art and Civilization (Detroit,
I960), p. 291.

2 The International Style (Baltimore: The Walters Art Gallery,
1962), no. 127, pp. 125-126.

252

Franco-Netherlands, ca.1400

VI 20 Kneeling Prophet. Gilt bronze, H. 5-1 /2, W. 3-1 /2 inches. The Cleve¬
land Museum of Art, Leonard C. Hanna Jr. Bequest, 64.360.

Kneeling on one knee, enveloped in a heavy mantle, head
turned and with hands held forward, this small gilt-bronze
sculpture embodies a conception of an Old Testament prophet
which is at once monumental, powerful, and subtle. The
figure seems poised momentarily in its contrapposto action.
His lips are parted, his head pulled forward, and his beard
is blown away from the direction of his attentive gaze. The
suspended movement of the figure was further underscored
by a curvilinear banderole which was formerly held in the
Prophet’s hands. Symbolically this figure is an heir to a long
tradition of representations of figures inspired by some outer
force, the gift of prophecy or the Word. Iconographically,
we are reminded of the figure of the Psalmist in the Caro-
lingian Psalter (cat. no. 1-4) or the Evangelists in the
Romanesque Corbie Gospels (cat. no. n-11).

The Cleveland Kneeling Prophet, completely unknown
until its recent discovery, was first connected by Herbert
Bier with a similar kneeling prophet of the same dimensions,
material, gilding, and style preserved in the Louvre since
1903. This latter figure has long excited great admiration for
its sculptural power and high quality. In recent years, as
when it was shown in the L!Art vers 1400 exhibition in
Vienna, the Louvre figure has been related to the style of
Andre Beauneveu of Valenciennes, who worked for the
Duke of Berry at Bourges in his later years. Certainly there
are stylistic connections with Beauneveu’s painted prophets
in the Duke’s own Psalter, 1 the stone prophets formerly in
the Sainte Chapelle of Bourges, and the stained glass panels
showing prophets in the same style, also formerly in the
Sainte Chapelle at Bourges (cat. no. vi-9).

However, now with two gilt-bronze prophets to consider,
we are forced to examine the whole tradition of the repre¬
sentation of Old Testament prophets in the latter part of the
fourteenth century and into the early fifteenth century, not
only in France, but also in Netherlandish areas where the
most original and forceful developments seem to have be¬
gun. This examination leads to some of the origins which

1 Paris, Bibliotheque Nationale MS. 13091.

have been cited in relation to another famous Netherlander,
Claus Sluter, who also completed his career in France, work¬
ing for another member of the Valois court, Philip the Bold,
Duke of Burgundy. The origins of Sluter’s style have been
observed in the Bruges City Hall consoles and in the Brus¬
sels City Hall seated prophets (formerly over the arch above
the central entrance). The line of development has led to
the well-known consoles supporting the large free-standing
portal figures at the entrance to the Ducal Chapel at the
Chartreuse of Champmol, near Dijon. The two gilt-bronze
prophets seem to be a step in advance of the Brussels proph¬
ets, sometimes attributed to Sluter himself, in their sugges¬
tion of monumentality and massiveness. The gilt bronzes also
seem less frenetic and agitated than some of the Bruges
figures. They approach most closely the two outer pairs of
prophets on the consoles at Champmol in their controlled
sense of powerful form. While lacking the enormous monu¬
mentality of Sluter’s figures on the Well of Moses, the two
kneeling gilt-bronze prophets convey something of the
essence of their strength. In this respect it is instructive to
compare the breadth and simplicity in the treatment of the
draped figure in the case of the Cleveland Prophet with that
of the later Detroit Virgin. This Virgin, while continuing so
much of Sluter’s style, abandons its inner force and power.
One is tempted to say that if Sluter himself ever did any small
bronzes, the two figures in Cleveland and in the Louvre are
what they might have looked like, with their massive drapery
and bearded heads with furrowed brows, high cheek bones,
and acquiline noses.

Questions arise as to the original context of these two fig¬
ures. Certainly they were caryatidal figures, as the shoulders
and backs of the heads of both are similarly "squared” to
receive some rectangular object. Perhaps with other prophets
they supported the base for a crucifix. The Great Cross on a
pillar-base of Abbot Suger, seven meters in height and com¬
pleted in 1147 by Godefroy de Claire and assistants, had a
program in which Old Testament references were given to-
continued on page 376)

254

Franco-Netherlands, VI 21 Three Mourners from the Tomb of Philip the Bold, Chartreuse

by Claus Sluter and Claus de Werve, de Champmol, Dijon. Vizelle alabaster (Grenoble stone), H. 16-3/8,

active 1379/80-1405/6 16-1 /2,16-1 /4 inches. The Cleveland Museum of Art, Purchase from

and 1380-1439 respectively the J. H. Wade Fund, 40.128; and Bequest of Leonard C. Hanna Jr., 58.66, 58.67.

In an era when the measured pageantry of the state funeral
has once more been reaffirmed, there is little difficulty in
grasping the intent and poignancy of the great tomb planned
and executed for Philip the Bold, Duke of Burgundy
and brother to King Charles v. Philip’s tomb was placed in
the sepulchral chapel of this Ducal foundation of the Char¬
treuse de Champmol. Sculptured mourners seem to move
slowly, singly and in clusters, all heavily garbed, and follow
in procession the shadowed recesses of a miniature cloister
encircling the monument beneath the funerary effigy. As
suggested by Joan Evans, this procession may in effect com¬
memorate the Duke’s actual funeral procession which trav¬
eled on foot from Flanders to Dijon in 1404. In actuality the
tomb was planned well ahead of this event, although it was
not completed until six years after the Duke’s death. As
early as 1381 Jean de Marville initiated the original con¬
ception of the tomb and after his death in 1389, Claus Sluter
took over the project. Sluter left its completion after his own
death (not long after that of the Duke’s) to his nephew
Claus de Werve, who had joined the workshop December
1, 1396.

The tomb must be considered against its larger context—
the sepulchral chapel with its portal made immortal by Slu¬
ter’s genius, the monastery itself occupied by its contempla¬
tive inhabitants, monks of the Carthusian order, and the many
art treasures, carved altarpieces and painted panels, donated
by the Duke (see vi-12). It was Philip’s intention that this
larger ensemble was to be the funerary shrine reserved for
the Dukes of Burgundy.

The fundamental layout of Philip’s tomb was rooted in
earlier funerary monuments in France, as at the Royal Abbey
of Saint-Denis, and in the Netherlands. Philip’s tomb was
simply two slabs of blue-black marble separated by a minia¬
ture arcade with the procession of mourners. Above the
upper slab was the portrait effigy of the Duke attended by
two angels. The funerary procession contained a total of

forty-one figures, and their positions are recorded in eight¬
eenth-century drawings made prior to the Revolution which
wreaked particular havoc and loss on the Chartreuse de
Champmol.

The three exhibited figures from the tomb, numbers eight¬
een, thirty-five, and thirty-eight in the procession, have passed
down through a succession of collections in France and
America. They were for many years in the collection of
Clarence Mackay of Long Island and were on the New York
art market in the late 1930’s. They eloquently demonstrate
some of the expressive variations found in the remaining pro¬
cessional figures. The saddened figure with the rosary, head
bent, is somewhat mask-like and without outward emotion.
In contrast, the figure with tightly-clenched hands turns his
head aside in anguish and pain. The third Mourner with a
cowled head and partially hidden face is deep in contempla¬
tion.

The sculptural treatment of the draperies of the three
figures also indicates something of the rich variety to be
found in the entire group. The Mourner with the rosary has
a bulk made elegant by columns, flutings, and ellipses
formed by the ridges and recesses of the folds. The an¬
guished figure is more massive. His drapery seems to swell
and give way to internal forces. This power is most sugges¬
tive of that of Sluter’s prophets on the Well of Moses. The
cowled figure, in keeping with its mood of deep contempla¬
tion, is almost without mass. The folds and bunchings of
drapery are like flying buttresses to a very slight internal
support which is barely, if at all, felt through the drapery.
Sluter’s art is basically theatrical and, like Shakespeare’s,
it is theatrical in the best expressive sense. Sluter embodied
in stone a balanced sense for rhythm, monumentality, and
psychological states. The pathos and anguish of the Mourn¬
ers is deeply felt and rhythmically ordered in time as we
follow their measured steps. Great art immortalizes. Philip
knew it and he picked his artists well.

256

Burgundian, ca. 1425-1430

VI 22 Virgin and Child. Limestone with traces of paint, H. 42-1/2, W. of
base, 16-1/2 x 11 inches. Provenance: Said to be from Rouvres-en-
Plains (Cote-d’Or) . The Detroit Institute of Arts, 36.27.

The high sculptural quality of the Detroit Virgin led the late
William R. Valentiner to attribute the conception, and the
carving of the face and right hand, to Sluter himself as an
example of his late style. Philippe Verdier also underscored
the qualitative level of the sculpture in his more recent dis¬
cussion in the catalogue for the International Style exhibi¬
tion in Baltimore. Verdier felt, however, that the sculptor,
while Burgundian and influenced by Sluter, was very close
to the creator of the much-admired Virgin of Auxonne (Cote
d’Or). Both Virgins have an expansiveness, breadth, and
richness of draperies, a gentle hancement, nearly closed
eyes with puffy lids, mouths dappled at the corners, double

chins, full rounded cheeks, and curly locks framed by a
heavy veil. All of these features were utilized by Sluter.
Certainly the residual monumentality of the Detroit Virgin
derives from Sluter’s prophet figures on the Well of Moses,
which had an enormous impact on Burgundian sculpture in
the fifteenth century. However, some of the physiognomic
elements, as well as the sense of breadth given the figure,
may be due to the intermingling of two traditions—the dom¬
inant one being that of Sluter, and the second and older one
being that of the tradition of Madonna sculptures in the
fourteenth century in Lorraine and Burgundy.

258

Ile-de-France, Paris, ca.1405,
by the Lugon Master

VI 23 Book of Hours, in Latin. Vellum, 167 leaves, H. 7-1/8, W. 5-1/8
inches. Baltimore, The Walters Art Gallery, W. 231.

The twenty miniatures in this Book of Hours are all by a
single artist capable of painting with great refinement and
simple, jewel-like coloring. He was an artist who, while sen¬
sitive to human activity was more interested in giving his
figures an inner awareness and lyricism, particularly in the
way he accented the eyes. A certain quietness pervades his
miniatures even though he sometimes does this with intense
color. What better miniature can be used as an example of this
than his full-page painting depicting the Death of the Virgin?
Here he expresses in his native talent the use of color, grace¬
ful line, and shallow modeling. His vision of this scene was
not one of great anguish and wailing but one of quiet medi¬
tation and thoughtful sorrow. The reading figure at the right
gives the essence of the Lu^on Master’s type of eloquence.
While the refinement allies this miniature with the great
grisaille drawing from the Louvre (see cat. no. vi-11), the
purposes differ in the essentials. By contrast, the Lu^on Master
gives most of his figures a sense of awareness of each other
and of the event which they witness, a feature lacking in the
large design.

We are told that the Lu^on Master worked at times for
John, Duke of Berry, and members of his retinue, and also
for other patrons. 1 His best-known work is the profusely

1 The International Style (Baltimore: The Walters Art Gallery,
1962), no. 47, pp. 50-51, pi. LV.

illuminated Missal and Pontifical (Bibl. Nat. MS. lat. 8886)
which he completed in the early fifteenth century for Etienne
Loypeau, Bishop of Lugon (1388-1407)—hence his name,
the Lu^on Master, given to him by Millard Meiss.

The Lu^on Master seems to have been the head of an active
atelier, and his hand has been observed in many manuscripts
of this period. At first his style and some of his iconographic
peculiarities must have grown out of those associated with
Jacquemart de Hesdin as seen in the miniatures in the Tres
Belles Hcures in Brussels (MS. 11060-61). However, in the
present manuscript, the Lu$on Master has already begun to
abandon the effects of plasticity which he derived from Jac¬
quemart in favor of what Dorothy Miner has called "man¬
nered expressiveness.” Never sharing Jacquemart’s landscape
and architectural interests, our Master also seems to have pre¬
ferred tesselated backgrounds with minimal accessories. For
this reason, he is most expressive with subjects whose activity
is suspended. Thus the votive depiction of an angel support¬
ing a bust-length dead Christ, a subject in favor at this time
in both painting and enamels, becomes another occasion for
him to reaffirm his basic desire for lyric simplicity.

260

Second quarter
or late 15th century

VI 24 Medallion: Coronation of the Virgin. Translucent enamel on silver,

Diam. 2-1/2 inches (excluding frame of later date) . New York,
Mr. and Mrs. Germain Seligman.

The subject of this exquisite enamel might be described in
a cumbersome but more accurate fashion as "the Virgin being
crowned by angels in the presence of the Trinity." Except for
the figure of Christ shown at the left with a nude torso, the
three figures who loom behind the tiny kneeling Virgin are
identical in physiognomy, costume, and color.

While this enamel has been previously exhibited within
the International Style context 1 as it is catalogued here, the
present writer no longer can support this earlier dating. In¬
stead the hint given by Colin Eisler seems to be more cogent.
Dr. Eisler suggested a date circa 1470 because of its similarity
to paintings of that date. 2 More specifically, the present writer
would like to propose that the Seligman Medallion was pro¬
duced in the same workshop as that of the Cleveland enamel
Triptych from the Kremlin, which was also once considered
to be from the earlier International Style period. The Trip¬
tych can now be shown to date at the end of the fifteenth cen¬
tury (see cat. no. vn-15).

Not only are the physiognomic types very similar, but the
drapery treatment in both works is particularly close despite

1 The International Style (Baltimore: The Walters Art Gallery,
1962), no. 131.

2 Colin Eisler, "Le gothique international," Art de France, iv
(1964), 289.

the differences in color. The figure of Saint Anne on the back
of the Triptych is especially related to those of the Trinity
figures in the modeling of drapery, in proportions, and in the
use of the engraver’s line. The treatment of the moldings of
the tenipietto behind Saint Anne, while not identical with
those in the Medallion, is certainly similar in feeling. The
architectural character of the furnishings in both works is one
of the best stylistic clues which confirms a dating after the in¬
roads of the Italian Renaissance came to be felt in France in
the work of the Maitre de Moulins, Jean Fouquet, Jean Co-
lombe, and Jean Bourdichon. Just as the Cleveland Triptych
reflects in part a specific painting by Bourdichon, the Medal¬
lion seems to depend in its crown-bearing angels on the fa¬
mous painted Triptych at Moulins. Also, the Medallion’s
kneeling Virgin should be compared with a similar Virgin in
stained glass given to the Maitre de Moulins and in the Popil-
lons Chapel in the Cathedral of Moulins. 3

A later dating of the Medallion in no way belittles its
beauty, but is a step in the direction of understanding more
fully a little-studied aspect of French enameling in the late
Gothic period.

3 "Miniature, peinture, vitrail: le Maitre de Moulin," Art de
France, u (1962), 247, fig. 1.

262

Ile-de-France,

Paris, ca, 1400-1408,
by Egerton Master and
Zebo da Firenze

VI 25 Hours of Churles the Noble f in Latin and French. Vellum, 329 leaves,
H. 7-5/8, W. 5-3/8 inches. The Cleveland Museum of Art, Purchase,
Mr. and Mrs. William H, Marlatt Fund, 64.40.

This profusely decorated Book of Hours is known from its
coat of arms, repeated twenty-five times, as the Hours of
Charles the Noble after its first owner Charles hi (1361—
1425), King of Navarre, Count of Evreux and Duke of
Nemours, This manuscript can be dated on various grounds
within the first decade after 1400. 1 The probable product of
one of the prominent Paris publishing houses, the Hours of
Charles the Noble demonstrates a remarkable collaboration
of several artists in its illustration and decoration. The manu¬
script’s inclusion in Treasures from Medieval France is on
the basis that it is a French production in which both an
Italian and a Netherlander, who produced the main minia¬
tures, are conveyers of outside traditions into the Paris-Berry
milieu, while at the same time they in turn are influenced by
the art of their adopted home. This one manuscript, as much
as any other considered here, may be taken as symbolic of the
subtle cross-fertilizations which permeated the period of the
so-called International Style.

Several years ago the late Jean Porcher discovered that one
of these artists signed a small book held by one of the mar¬
ginal beasts: Zebo da Firenze dipt Jit ore. It has been assumed,
and plausibly so, that this unique signature applies to the
main painter responsible for nineteen of the twenty-four il¬
lustrations, all of the historiated initials, and many of the
marginal figures. Zebo’s real contribution, not without in¬
fluence in northern circles, may be seen in some of his finest
miniatures, such as the Annunciation, Presentation, and Cor¬
onation miniatures contained in the Hours of Charles the
Noble. In these he reveals himself, first of all, as a colorist;
that is to say, he uses intrinsically beautiful colors with
subtlety and a knowledge of the crucial part they can play in

1 For further details and documentation see William D, Wixom,
The Hours of Charles the Noble/ 1 cm a Bulletin , lii (March
1965), 50-83, in which all miniatures are reproduced. The tex¬
tual contents and collation of the manuscript is given on pp, 90-
91* Included in the same number is: Emanuel Wintcrmtz, H 'Thc
Hours of Charles the Noble, Musicians and Musical Instru¬
ments/’ pp. 84-90.

the exposition of a design. Second, in these miniatures he
demonstrates his ability as a "little master" in the depiction of
space, especially interior space. Third, following the great
Italian masters of the painted panel and fresco, Zebo can on
occasion express something of the deep, yet idealized emotion
of his subjects through the use of facial expression. This is
especially evident in the Man of Sorrows and Crucifixion
miniatures in the Cleveland manuscript.

Zebo was an exponent of Italian art in Paris. He must be
considered, in particular, as a conveyor of Florentine and
Sienese elements, both iconographic and stylistic. Indeed
some of the Italianisms of the greater and far better-known
Limbourg Brothers may be due to Zebo’s presence in the
Paris-Berry circle just as they were beginning some of their
major projects. Zebo’s use of architecture—the attached ora¬
tory discussed by Millard Meiss, the thin, enframing fore¬
ground columns setting off interior spaces, and the three-
quarter architectural view as a basis for an interior-exterior
setting—should be considered in relation to the Limbourg
Brothers’ development of architectural forms, Zebo’s borders,
inhabited with frolicking and music-making putti and other
figures, may have inspired one of the Limbourg Brothers
when he painted the border for the Annunciation miniature
in the Belles Heures (folio 30), from the Cloisters, New'
York (cat. no. vi-28). Zebo must also he considered as an¬
other exponent of the iconographies based on the influential
pseudo-Bonaventura’s Meditations, which had widespread
impact in Italy during the fourteenth century, and Increasing
importance in the North during the late fourteenth century
and the fifteenth century.

The second miniaturist in the Hours of Charles the Noble
has been identified by Millard Mciss as the Egerton Master
after a group of his miniatures in a Book of Hours in the
British Museum (Egerton 1070). Certain general conclu¬
sions can be made from the five miniatures which this artist
contributed to the Hours of Charles the Noble. First, in his
own way, he is a master in the use of color and space toward
(Continued on page 377)

264

Ile-de-France, Paris, ca.1409,
by Jacquemart de Hesdin,
active 1384-1409 (?)

VI 26 Christ Carrying the Cross. Vellum, H. 14-7/8, W. 11-1/8 inches.

Provenance: Grandes Heures du due de Berry. Paris, Musee du
Louvre, Departement des Peintures.

This painting on vellum has regrettably lost much of its orig¬
inal brilliance of color and surface. Nevertheless, it is to be
admired for the color harmonies it still retains in which the
blues and whites and russet reds dominate.

The work was once attributed to the School of Avignon
because it appears to be based on Simone Martini’s panel from
the Polyptych of Cardinal Napoleone Orsini. The relevant
panel, now in the Louvre, is thought to have once been at
Avignon along with the other panels, now lost or dis¬
persed to the museums in Antwerp and Berlin. More recent
opinion attributes the painting to Jacquemart de Hesdin, the
probable illuminator of the sequence of large miniatures in
the Tres Belles Heures of the Duke of Berry in Brussels (MS.
11060-61) - 1 A large miniature of the same subject and sim¬
ilar composition but with important differences may be seen
in the Brussels Hours. The composition also occurs in a con¬
temporary tapestry, probably Arras work, now in the Cathe¬
dral of La Seo in Saragossa, Spain. 2 Otto Piicht and Carl Nor-
denfalk have recognized that the present leaf, now mounted
on cloth, was probably one of the lost full-page miniatures of

1 For documentation see Charles Sterling and Helene Adhemar,
Peintures, ecole fran^aise XIV e , XV € , et XV P siecles (Paris,
1965), p. 3.

2 See Europdische Kunst urn 1400 (Vienna, 1962), no. 518 and
compare with the Egerton Master’s version of the same subject,

William D. Wixom, "The Hours of Charles the Noble,” cma
Bulletin, lii (March 1965), 75-76.

the Grandes Heures of the Duke of Berry which was termi¬
nated in 1409 (Bibl. Nat. MS. lat. 919) and which the ducal
inventory of 1413 describes as containing tres notablement
enluminees et historiees de grans histoires de la main Jacque¬
mart de Hodin. The leaves of the Grandes Heures now mea¬
sure 15-3/4 by 11-13/16 inches, and because of the erosion
and losses of the outer edges it must have been even larger,
thus adding plausibility to the suggestion of Pacht and Nor-
denfalk. In 1956, Millard Meiss assigned the present single
miniature to the "circle of the Brussels Master [Jacquemart
de Hesdin] to which Beenken and Panofsky have given it; it
is Certainly a late work by this master, around 1400-1405." 3
At the lower left of the miniature are two young ladies or
girls and a small boy. They are dressed in accordance with
Italian taste, as verified by the lady shown in the Book of
Hours from the Spencer collection (cat. no. vi-6). The fore¬
most figure wears a diadem with small stones. Piicht thought
that this figure might be the small daughter of the Duke of
Berry, basing his claim on the portraits in the Recueil de
traites didactiques of 1406 (Bibl. Nat. MS. fr. 926, fol. 2).
The costumes might be explained by the Paris taste for things
Italian at this time, even the importation of artists from Italy
(see cat. no. vi-25). Lombard art and Sienese painting seem
to have been in special favor.

3 Millard Meiss, "The Exhibition of French Manuscripts of the
XIII-XVI Centuries at the Bibliotheque Nationale," Art Bul¬
letin, xxxviii (1956), 192.

266

Ile-de-France, Paris, ca.1410, VI 27 Book of Hours, in Latin, for Paris use. Vellum, 272 leaves, H. 5-1/2,

by the Bedford Master. W. 3-1/2 inches. Baltimore, The Walters Art Gallery, W. 209.

This volume is a delightful work of circa 1410 attributed to
the youthful Bedford Master following the suggestion of
Otto Pacht. 1 The miniatures, painted on the silky vellum, are
especially refined and delicate. In the scale of the figures as
well as in certain color relations, the work may be compared
with the Egerton Master’s miniatures in the Hours of Charles
the Noble (cat. no. vi-25). The Bedford Master lacks the
latter’s intuitive grasp of psychological expressions and on
the whole is more delicate and gentle in his rendition of fig¬
ures and settings. Also, the present artist had not yet broken
away from the fourteenth-century preference for tesselated
backgrounds, and consequently in this respect too he differs
from the Egerton Master, who had by this time shown a re¬
markable gift at suggesting landscape space via atmospheric
perspective.

Similarities of drawing, coloring, and sensitive modeling
ally the miniatures, especially that of the Annunciation, with
the two miniatures added to the Gotha Missal at about this
time, circa 1410 (see cat. no. vi-3). Both groups contain the
same dwarf fluffy trees and the same physiognomies, espe¬
cially evident in the angels. Dorothy Miner tells us that at
this time the Bedford Master can be seen collaborating with
the Boucicaut Master, the Lu$on Master, the Rohan Master,
and others, which explains certain aspects of his work and his

1 The International Style (Baltimore: The Walters Art Gallery,
1962), no. 50, which provides a useful summary of the research
to date on the youthful Bedford Master.

subsequent development. 2 He may have influenced these art¬
ists in return. Mature works by them and their workshops are
included in the exhibition (cat. nos. iv-29 through 34). Very
little of the involved and lavish style of the Bedford Master’s
mature period is intimated in the present work.

It is of interest to note the Italianate entwined acanthus
borders on the pages with the Annunciation and Office of the
Dead miniatures (folios 3 and 161). This probably reflects
the presence of Italian manuscripts and artists in Paris at this
time. Zebo da Firenze, who contributed the major part of the
decoration in the Hours of Charles the Noble, was such an
artist who apparently worked side by side with the Egerton
Master at this time (see cat. no. vi-25). Zebo’s acanthus
borders, however, are more vigorous and they are inhabited
by many animals, heads, and quantities of animated figures,
some nude and others playing musical instruments.

The remaining borders in the present manuscript are rela¬
tively simple. Later the Bedford Master used the borders of
his large illustrations as an incredibly rich, supplementary
series of miniature scenes. While many of these were archi¬
tecturally framed, others might be considered by now the
heirs to Zebo’s inhabited borders of acanthus. The Book of
Hours from the Morgan Library (cat. no. vi-35), which
closely reflects the Bedford Master, is a good example of this
later type of border in the north, which might also be com¬
pared to the Book of Hours from the Mazarine Library (cat.
no. vi-32).

2 Ibid.

268

Franco-Netherlands,
ca. 1410-1413, by Pol, Jean,
and Herman de Limbourg.

VI 28 Belles Hemes of John, Duke of Berry, in Latin and French, for

Paris use. Vellum, 224 leaves, H. 6-5/8, W. 9-3/8 inches. New York,
The Metropolitan Museum of Art, Cloisters Collection, 54.1.1.

The ex libris, written by Jean Flamel, secretary to the Duke
of Berry, reads: "These Hours were made to the order of the
very excellent and mighty Prince Jehan, son of the King of
France, Duke of Berry and Auvergne, Count of Poitou,
Etampes, Boulogne, and Auvergne. Flamel." The Duke’s
escutcheon, fleur-de-lis in gold on azure ground within an
indented red border, appears five times in this deluxe volume.
Three show his emblems of the bear and swan which is also
in the left-hand border of the Annunciation miniature re¬
produced here (folio 30). The Duke’s motto, I tenips venra,
is in the calendar for December. Ninety-four full-page, and
fifty-four column miniatures constitute the principal decora¬
tion of the manuscript. There are also twenty-four quadri-
lobed miniatures in the calendar; all of the margins are il¬
luminated with a delicate, spiky network of gold, blue, and
red ivy leaves. 1

The miniatures were painted by the famous Limbourg
Brothers, known from their work in the more familiar Tres
Riches Heures in the Musee Conde in Chantilly. This larger
work was begun about 1413 and was not completed by the
time of the Duke of Berry’s death in 1416. The Belles Heures
was probably produced between 1410 and 1413, when it was
listed as a bound volume in an inventory of the Duke’s pos¬
sessions. The contents include: a Calendar, scenes from the
life of Saint Catherine and the Evangelists, Hours of the
Virgin, Penetential Psalms, Litanies, Hours of the Cross,
Hours of the Holy Spirit, miscellaneous prayers, history of
Saint Bruno, the founding of the Grande Chartreuse, Office
of the Dead, Hours of the Passion, Suffrages of the Saints,
history of Heraclius, and Masses preceded by lives of Saints
Jerome, Paul, Anthony, and John the Baptist. The volume
ends with a prayer for travel with a frontispiece miniature
depicting the Duke of Berry returning from a journey with

1 See for facsimiles: Jean Porcher, Les belles heures de Jean de
France, due de Berry (Paris, 1953); James J. Rorimer and
Margaret B. Freeman, The Belles Heures of Jean, Duke of Berry,
Prince of France (New York, 1958). See bibliography.

his retinue and approaching a high-walled castle and fortified
gate (folio 223 verso).

The miniatures sustain a remarkable vibrancy and luminos¬
ity of color. These characteristics, plus the great care taken in
the painting, the numerous pictorial inventions, the exquisite
decorative character of the whole, all establish this manuscript
as a particularly precious jewel among very select company.
In some ways the manuscript seems conservative in the occa¬
sional tesselated or gold foliated branches against colored
backgrounds. In other respects it moves with the interests of
court manuscript painting at the time, showing a keen interest
in supplying landscape settings for religious subjects in which
are suggested distant castles and towns, clumps of trees,
craggy rocks, and skies with gradations from deep to light
blue at the horizon. While these features were being used by
several artists in the first decade of the fifteenth century in
Paris, such as the Egerton Master (cat. no. vi-25), the Lim¬
bourg Brothers gave them a special flair—more fanciful and
at times even grandiose. Architectural settings, both interior
and exterior, become even more elaborate in the hands of the
Limbourg Brothers in this manuscript, one of their earliest.

There is one particular aspect of the present work which
vies with its jewel-like decorative character. This is the art¬
ists’ strange ability to render figures in action, not only in a
decorative, but also in an expressive manner. Sometimes they
convey deep pathos or stark emotions, completely fulfilling
the potential of the subjects represented. In fact in this decade
it is hard to find a more expressive Passion sequence than the
one depicted in this manuscript. After the unforgettable cli¬
max of the pseudo-grisaille Night of Golgotha (folio 145
verso) is the intense, exquisite pathos of the brilliantly col¬
ored Deposition. The pathetic Virgin gazes directly into the
lifeless face of the dead Christ being let down from the cross
(folio 149). The Entombment (folio 152), also rendered
in luminous color, is an expanded expressive version of a
composition already familiar to us in the work of Pucelle and
(Continued on page 379)

270

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Ile-de-France,

Paris, ca.1410-1415,
by the Boucicaut Master

VI 29 Heures du Marechal de Boucicaut. Vellum, 249 leaves, H. 10-7/8,

W. 7-1/2 inches. Paris, Musee Jacquemart-Andre, MS.2.

After the Tres Riches Heures, this handsome Book of Hours
is perhaps one of the best-known and most treasured of
Gothic books of hours. It was executed in Paris for Jean II le
Meingre, Marechal de Boucicaut, whose arms once adorned
many pages. The painter of the forty-one miniatures in this
celebrated manuscript is therefore called the Boucicaut
Master. He collaborated with another prominent artist, the
so-called Bedford Master, on a number of other manuscripts;
he also seems to have founded an atelier, the source of a great
number of manuscripts during the following decades. Three
other manuscripts with miniatures, either from the hand of
the Master himself or from his atelier, are discussed in suc¬
ceeding pages (cat. nos. vi-30,31,32).

While the date of the present work is not exactly certain,
it can be approximated, as Erwin Panofsky has shown, in
relation to datable miniatures by the Master in other manu¬
scripts. In this way, the largest group of miniatures seem to
date around 1405-1408, the work being fully completed
after Boucicaut returned home in 1410. 1 The range in the
stylistic development may be clearly observed by comparing
the early Dedication page on folio 23 verso with the later
page showing Boucicaut kneeling before Saint Catherine. The
evolution includes an increasing interest in individual or
portrait characterization and "a development from primitive
schematization to masterly command of volume and space." 2

In the miniatures throughout this manuscript, there is an
extraordinary expansion in the use of space, both in depth
and complexity of construction. The Boucicaut Master builds
upon and goes beyond the achievements in this direction seen
in the painted altar wings by Melchior Broederlam of Ypres
(active 1381-1409) which were installed at the Chartreuse
de Champmol in 1399. This is borne out by the landscape
miniatures, such as the precocious renditions of the Visitation
and the Flight into Egypt (folios 65 verso and 90 verso) with
their remarkable sense of distant light emerging within each

1 Emin Panofsky, Early Netherlandish Painting (Cambridge,
Mass., 1953), I, 55.

2 Ibid., pp. 55-56.

composition. Intricate architectural constructions, and com¬
modious interior settings arc almost without parallel in con¬
temporary painting. The Annunciation and Nativity scenes
are rendered in this way. The paraphernalia for these scenes,
all of them traditional in subject, have grown in complexity
and verisimilitude, as in such details as the wattle fence and
the broken roof of the dilapidated shed in the Nativity (see
reproduction opposite). At the same time, the Master is aware
of the decorative demands of the book page and he fulfills
these needs with decorative patterns, in textured walls,
checker inlaid floors, and tesselated backgrounds. Also, the
original intensity of the colors he used was due to his experi¬
ments with new agglutinants then coming into use in manu¬
script decoration. These added greatly to the luminosity of
many colors. 3

There are several specific pictorial devices which the Bou¬
cicaut Master utilized in this manuscript, some of which owe
their invention entirely to him. One of these, discussed by
Panofsky, is the use of an archway or door frame to set off the
interior composition from the actual frame which further ac¬
centuated the sense of excerpted, interior depth as in the
Vigils of the Dead (folio 142 verso). The Boucicaut Master,
while not the inventor of empirical perspective, was one of
its major proponents in the north. It will be remembered that
Pucelle had already made great innovations in this direction
based on Italian painting (see cat. no. v-15). Now the Bou¬
cicaut Master goes much further, and he completely avoids
the occasional lapses into reverse perspective evident in some
of Pucelle’s work. The use of the open window or doorway
with a glimpse of graduated sky beyond is peculiar to the
Boucicaut Master at this time. Atmospheric perspective, while
not invented by him either, was certainly used to very ex¬
pressive ends. In short, and in spite of his love of fantasy, the
Boucicaut Master was, according to Panofsky, "one of the
(Continued on page 380)

3 Ibid., p. 57.

274

Ile-de-France, Paris, ca.1410, VI 30 LaCite deDieu, by Saint Augustine, translated into French by

by the Boucicaut Master Raoul de Presles. Vellum, 272 leaves, H. 17, W. 12-1/2 inches.

Baltimore, The Walters Art Gallery, W.770.

The Boucicaut Master must have been in charge of a large
workshop because of the extensive number of manuscripts
which seem to have come from it. While the range in quality
varies, the present work and the two that follow (cat. nos.
vi-31, 32) are exceptionally fine, and some miniatures in
them may be by the Master’s own hand.

The Walters’ manuscript provides a good display of all of
the artistic interests mentioned in relation to his masterpiece
(cat. no. vi-29), despite the reduction in scale of the minia¬
tures which are here all the width of one column of text. The
colors are more freshly preserved and give an excellent op¬
portunity to observe the luminosity mentioned previously.
Also, the intriguing interiors and the exquisite landscape set¬
tings are beautifully continued but in a more modest and less
grandiose way. The scene of Cain killing Abel (folio 60) is
an example of this, as well as of the dramatic color used by
the Master himself, notable by the contrast of the lavender

robe of Cain, who is repeated twice, with the blue tunic of
Abel. The atmospheric perspective, graded sky, and character¬
istic trees are also features of this fine miniature. The Nativity
scene (folio 139 verso) utilizes the basic compositional essen¬
tials of the comparable miniatures in the "Boucicaut Hours.’’
Again we can savor the fresh intensity of the colors—the blue
robe of the Virgin, the red bed cover, the lavender-blue of
Joseph’s tunic with gold cape, the green trees, and the white-
gray bed canopy. These colors, in harmony and brilliant con¬
trast, are used in nearly all of the eleven miniatures in the
present work. The Depiction of Hell scene is one exception to
this brilliant color palette. In this case, in which deep reds and
blues, and the gray-olive green of the Hell mouth contrast
with the warm ivory flesh tones of the tiny figures, we per¬
ceive an over-all luminous yet russet complexion to the minia¬
ture.

276

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Boucicaut atelier leaves, H. 16-1/2, W. 12-1/4 inches. Cambridge (Massachusetts),

Harvard University, Houghton Library, Richardson MS.32, vol. n.

According to Millard Meiss, the two volumes of Livy’s Les
Decades in the Richardson collection at Harvard did not orig¬
inally belong together. 1 They do not show the same script and
they clearly differ in size and illumination. Professor Meiss
feels that volume ii is from the Boucicaut atelier, datable circa
1415, and is earlier than volume I (which is not shown here).
The text is the French translation of Pierre Berceure made for
Jean ii le Bon, King of France. The proliferation of such

1 Letter from Millard Meiss, dated July 5, 1966.

works indicates a new interest in secular literature, especially
ancient history, as in Livy’s Roman history.

The painting is highly finished and luminous in color. In
keeping with the subjects, many miniatures are constructed
very densely with fantastic architectural views of fortified
cities, tightly composed battle scenes, and clustered tents in
wooded and hilly landscapes. At the beginning of this volume
is a large half-page frontispiece which is eloquent evidence of
a major artist’s hand. This is a masterpiece of color, modeling,
draftsmanship, and composition.

278

Ile-de-France,

Paris, ca.1410-1415,
Boucicaut atelier

VI 32

Book of Hours, in Latin, for Paris use. Vellum, 209 leaves, H. 9-7/8,
W. 6-7/8 inches. Paris, Bibliotheque Mazarine, MS.469.

When comparing the style of the Bedford Master with that of
the Boucicaut Master, the late Jean Porcher remarked that the
latter "used line to sharpen his modelling; his work was more
elegant but also drier, less atmospheric; and he was not afraid
to use raw, even acid colors.” 1 Porcher cited the present
manuscript as an example of the Boucicaut Master’s more
elegant but drier style. The Annunciation page (folio 13) is
an especially fine instance of the Boucicaut Master’s refine¬
ment rendered partly by intense color. In addition, it shows
the margin filled with small scenes, a feature more generally

1 Jean Porcher, French Miniatures from Illuminated Manuscripts
(London, I960), p. 69.

associated with the Bedford Master. This feature, also notable
in the Visitation, Nativity (folios 38, 50), and subsequent
pages, is rendered with brilliant luminosity echoing the cen¬
tral scene.

The two mediocre paintings by an English artist and a
prayer in English written beside the original Latin one (folio
137 verso) indicate that the manuscript was in England at
an early date. The manuscript’s contents are typical of the
hours of the period and contain the Office of the Virgin, a
Prose in Honor of the Holy Face, Hours of the Virgin for
Paris use, Psalms of Penitence, Office of the Holy Cross, Fif¬
teen Joys of the Virgin, and Office of the Dead.

280

Ca.l4l8, VI 33 Hours of Yolande of Anjou, formerly called the Rohan Hours,

by the Rohan Master in Latin, for Paris use. Vellum, 239 leaves, H. 11-1 /2,

W. 8-1/4 inches. Paris BibliothequeNationale, MS. lat. 9471.

Yolande of Aragon, wife of Louis n, King of Sicily and Duke
of Anjou, was an astute and fortunate lady. She acquired the
Belles Hcures illuminated by the Limbourg Brothers (cat.
no. vi-28) for 300 lit res when it had been evaluated at 700
for the executors of the Duke of Berry’s estate. The fact that
her husband was one of the executors may have secured this
happy outcome for her.

The late Jean Porcher described Yolande as a lady of dis¬
criminating taste who maintained in her service an active
atelier of book illuminators. 1 She is known to have commis¬
sioned Books of Hours, probably for both her daughter Yo¬
lande and her second son Rene (now Cambridge, Fitzwilliam
Museum, MS. 62 and Bibl. Nat. MS. lat. 1156A). The pres¬
ent manuscript, according to Porcher, may have been intended
for her eldest son Louis, heir to Anjou and Sicily after Louis
n’s death in 1417. This manuscript gives abundant evidence
of intimate familiarity with the Belles Heures which Yolande
had purchased, and also some passing knowledge of certain
details in the Tres Riches Heures, whose later ownership is
uncertain. The compositional motifs utilized from the former
include: the Virgin and Child in the Court of Heaven, many
figures from the Occupations of the Months, the Visitation,
the miniature of Saint George and another of Saint Martin,
the Office of the Dead, and the seated Virgin seen from the
back—a motif which the Limbourg Brothers used in their
Flight into* Egypt miniature. Certain other details were re¬
peated from a second manuscript in the library of Yolande
of Anjou, a Bible Historiee, which probably had been dec¬
orated by an Italian painter at the behest of Louis, her hus¬
band. Porcher reasonably concludes that ‘'with two books
from the library of Anjou copied in the Heures de Rohan by
artists in Yolande’s service, no further proof seems to be
needed that these are, by rights, Heures d’Anjou,” instead of
"Heures de Rohan,” a title derived by subsequent ownership
which caused a change in the coats of arms. However, the
Rohan name has been so long associated with this very great

1 Jean Porcher, The Rohan Book of Homs (London, 1959), p. 5.

manuscript, that there is a general consensus to retain the
name of the master who produced the larger and finest minia¬
tures in the present work as the "Rohan Master,” and his
workshop is still called the "Rohan atelier.”

Porcher became interested in the origins and early work of
the Master. By comparison with Catalan and Languedocian
manuscripts akin to Yolande’s own background as a daughter
of Aragon, Porcher suggested that the Rohan Master may
himself have come from one of these areas. One of the manu¬
scripts in which Porcher saw this kinship is included in the
exhibition (cat. no. vi-5). Porcher noted a similarity in the
use of tense attitudes, anguished faces, naked, emaciated
bodies, and skies sprinkled with angels. Before giving free
reign to his natural talents and artistic emotions under the
sympathetic patronage of Yolande, begun in 1414, the Rohan
Master must have worked in Paris in the first years of the
century on projects shared with two artists who later became
influential heads of flourishing shops of their own—the
Boucicaut Master and the Bedford Master.

Under Yolande and perhaps before, the Rohan Master be¬
gan to produce a series of Books of Hours for which he had
the help of his own atelier. That the members of this work¬
shop were not equally gifted is evident in the range of quality
in the decoration of the Rohan Hours itself. However, several
very gifted helpers trained in his technique provided the
Master with extra pairs of hands, so to speak. The work for
Yolande, in this shop supervised by the Rohan Master, must
have at first been executed in Paris. Only later were the final
works produced at Angers, where the workshop had moved.

According to Porcher, the Rohan Hours was probably pro¬
duced in Paris, circa 1418. In this single manuscript more
than any other, the Rohan Master pjroved himself to be a
great draftsman as well as a gifted colorist, as especially evi¬
dent in the dramatic use of blues, pinks, reds, greens, and
mottled flesh tones. Unbending in the face of current Paris
fashions, the Rohan Master produced miniatures expressive
of melancholy, occasional deeply-felt anguish, and other
(Continued on page 380)

282

Ca.l425, VI 34 Thede Buz Book of Hours, in Latin and French, for Paris use.

atelier of the Rohan Master Vellum, 197 leaves, H. 9-1 /4, W. 6-3/4 inches. Cambridge,

(Massachusetts), Harvard University, Houghton Library, Richardson, MS.42.

This handsome volume contains many of the usual textual
features for a fifteenth-century Book of Hours including a
Calendar, sequences of the Gospels, Hours of the Virgin, of
the Cross, of the Holy Ghost, as well as the Penetential
Psalms, the Litanies, the Fifteen Joys of the Virgin (in
French), Seven Requests (in French), Vigils of the Dead,
the Passion according to Saint John, Obsecro te , fe te salve,
Maria (in French), and the Suffrages. 1 Eighty-two miniatures
appear on thirty-one pages—two on each of the calendar
pages (one missing), and three on each of the twenty illum¬
inated pages which make the frontispieces to different sections
of the text.

Erwin Panofsky has pointed out that a close thematic con¬
nection exists between the present manuscript and the Hours
in the Bibliotheque Sainte Genevieve, and another, divided
between the Bibliotheque Arsenal and Princeton University
Library. Each is a product of the Rohan atelier, completed
after the work on the Rohan Hours. Whereas the chronology
of these subsidiary works is uncertain, the quality of the pres¬
ent work clearly supercedes that of the others. In addition,
the de Buz Hours demonstrates a creative use of certain
inventions of the Bedford and Boucicaut Masters, and like the
Rohan Hours it also depends on certain compositional motifs
in the Belles Heures illuminated by the Limbourg Brothers
(cat. no. vi-28).

While many of the distortions, exaggerated proportions,

1 See for a complete description of this manuscript, Erwin Panof¬
sky, 'The de Buz Book of Hours,” Harvard Library Bulletin , in
(Spring 1949), 163-182, repr.

wild movements, emotional tensions, and fanciful architec¬
tural settings seem to follow the Rohan Hours closely, and
while several gifted hands may be detected in it, the de Buz
Hours seems to lack the additional contributions of the very
finest hand in the Rohan Hours, that of the Rohan Master
himself. Granting this, the de Buz Hours may still be appreci¬
ated in its own right. The miniatures illustrating the Flight
into Egypt (folio 67), the Coronation of the Virgin (folio
75), and two miniatures of the Virgin and Child (folios 151
and 155) are particularly beautiful. The second of these
Virgin and Child representations is especially subtle in the
modeling of pinks, whites, and blues in the flesh areas. As
Erwin Panofsky has pointed out, this is a moving example "of
those Tieta Madonnas’ in which the sleep of the childhood
prefigures the sleep of death" (see illustration). The colors
of this manuscript are consistent throughout, although only
rarely as subtle as the Pieta Madonna. The general emphasis
is on dry blues, orange reds, pinks, and rose (especially evi¬
dent in the architectural constructions). Also, there are whit¬
ish to yellowish greens which accent the grassy turf; strong
white occurs in certain draperies with tan lines for modeling,
and gold repeats throughout in the halos and in the patterned
edges of draperies. The backgrounds are often blue with
little squiggly clouds, or they are tesselated with red, blue,
and gold. The marginal vines are pen-drawn with gold
leaves, flowers, cones, and seed pods. This handsome manu¬
script, nearly uniform in its high level of quality, is clearly one
of the best products of the Rohan Master’s Paris atelier.

284

Ile-de-France, Paris, ca.1425

VI 35 Book of Hours, in Latin and French, for Paris use. Vellum, 193 leaves,
H. 8-3/4, W. 6 inches. New York, Pierpont Morgan Library, M.453.

The contents of this manuscript include: a Calendar, Hours
of the Virgin, Penitential Psalms, Litany, Hours of the Cross
and of the Holy Ghost, Office of the Dead, Fifteen Joys of the
Virgin, Seven Requests, and Prayer to the Cross, which in
combination identify the volume as a very typical fifteenth-
century Book of Hours. In fact only three of the twenty-two
miniatures give this manuscript a special interest. These three
miniatures, like the others by different, less gifted hands, are
surrounded by elaborate acanthus tendrils in which are set
small vignettes, many either rendered in a shorthand tech¬
nique or left unfinished. The best work of all can be seen in
the miniature depicting the Marriage of the Virgin (folio 30
verso). The unknown artist has succeeded in depicting a
crowd of elegantly garbed celebrants, all standing within a
Gothic portico seen in three-quarter view. The costumes, or¬
naments, accessories, and a lavish use of gold, establish this
miniature as a worthy heir to the style of both the Bedford
Master and the Limbourg Brothers. The architecture in three-
quarter view particularly recalls the Limbourg Brothers’
miniature of the Annunciation in the Tres Riches Heures (26
recto), which was certainly the present artist’s model. Even
the angel choir on the parapet above is taken from the Lim-
bourgs’ composition. The architecture turned at a three-
quarter angle seems to have had an international patrimony
leading perhaps back from Zebo da Firenze (cat. no. vi-25)
and Melchior Broederlam to Taddeo Gaddi’s fresco of the Re¬
jection of Joachim’s Sacrifice of circa 1338 in Santa Croce,
Florence. 1 The present miniature is not merely imitative of
this tradition, but alters it, giving it even greater opulence.
The architecture is painted a light blue and the assembled
figures have a jewel-like sparkle of pure blues, reds, orange,
white and gold. An underpainting of warm ochres and greens
beneath the flesh tones of the male heads gives them a singu¬
lar authority and strength. The head at the left has such in¬
dividuality that we might wonder whether the portrait of a

1 See William D. Wixom, "The Hours of Charles the Noble,"
cma Bulletin , lii (March 1965), 59.

rich prince attending the wedding of a member of his family
is the motivating subject of the miniature.

The second miniature depicts successive episodes of the
story of David and Bathsheba (folio 98 verso). It is com¬
pleted in a manner especially suggestive of the Bedford
Master, who often delighted in the panoramic landscape with
a high horizon, cut with deep ravines, and set with occasional
episodes of a multi-sequenced story. Uriah takes leave of
Bathsheba while the elderly king with his harp peers through
the window. At the left King David receives a messenger
with the news of Uriah’s death. In the distant hills above, the
penitent David kneels, gazing upon the Lord within the arc
of heaven, as an angel flies forth with a sword. The marginal
vignettes, a device of the Bedford atelier, depict the Virtues
and Vices: the upper left corner begins with Humility, and
moving counterclockwise, follows Pride, Patience with
Wrath, Charity with Gluttony, Chastity with Lust, Faith with
Infidelity, Avarice, Temperance or Fortitude, and Faith with
Despair in the upper right corner. The pure colors of these
tiny figures make their symbolism all the more apparent. The
page is dominated, however, by the opulence of the central
miniature and its larger areas of pure color—reds, blues,
greens, and especially whites—together with accents and de¬
tails in gold. It is no wonder that Erwin Panofsky once at¬
tributed this fine work to the Bedford Master himself; the
qualitative interest is very great. 2

The third miniature, the Annunciation (folio 31) is not as
fine as the other two because the heads of the Virgin and the
Angel are very weakly indicated. They may not be finished.
The architecture is comparable in its elegance with that of the
first miniature, although here the fantasy is carried further
with a series of delicate gabled arcades which frame the porch
where the Angel of the Annunciation kneels. The Virgin
herself kneels under a larger arch at the right, apparently at
(Continued on page 381)

2 Erwin Panofsky, Early Netherlandish Painting (Cambridge,
Mass., 1953), i, note 613.

288

|||U Jl

i V

r t?

Possibly Arras, ca.1430-1450 VI 36 Tapestry Panel with Winged Stags. Wool and silk threads, H. 137,

W. 149-5/8 inches. Inscriptions: [Center] Cest estandart est une
enseigne/Oui aloial francois enseigne/De jamais ne la bandonner/Sil ne veult
son I bonneur dormer. [Left] Amies porte tres glorieuses/Et sur toutes vie-
torieuses. [Right] Si nobles na dessoubz les cieulx/Je ne pourraye porter mieulx.
Rouen (Seine-Maritime), Musee des Antiquites de la Seine-Inferieure.

A majestic winged stag rests within a wattle-fenced enclosure.
He supports with his bent foreleg a great rose-colored banner
decorated with gold sunbursts and depicting Saint Michael
in white armor vanquishing the dragon. Two more winged
stags, one on each side of the first, wear crown-like collars
of gold with fleurs-de-lis from which are hung small blue
shields also decorated witli gold fleurs-de-lis. A blue shield
with the same motif rests against the fence in the foreground
flanked by rampant lions. Three involved banderoles present
short verses in Gothic script. Iris (the fleur-de-lis in nature)
and other plants may be seen flowering in the foreground
and within the enclosure. The scene is partially surrounded
by a lush foliate background dominated by a hedge of bloom¬
ing roses. Above and beyond are glimpses of rocks and
hillocks with a turreted castle on either side. At the upper
left a distant boat in full sail sets out to sea beneath a
cumulous sky.

This seemingly idyllic scene overlaid with feudal and
heraldic references might easily lend itself to romantic flights
of fantasy. Certainly it has been the subject of scholarly mis¬
interpretation and misdating ever since its foresighted pur¬
chase for the Musee des Antiquites at Rouen in the 1890’s.
The heraldic devices had not been clearly determined until
Paul Martin published a short definitive study on the tapestry
in 1947. 1 Contrary to earlier assumptions, the tapestry cannot
be identified with a hanging described in the inventory of
Louis xiv. Instead, Martin traces the use of the devices and
colors on the personal standards of several French kings since
the great Valois king Charles v and as a result is able to focus
more surely on one particular sovereign, Charles vii of
France, who reigned from 1422 to 1461. In 1419 and while
still the Dauphin, the future king is recorded as having had
made two standards with Saint Michael overcoming the
dragon. This personal emblem is combined in the present
tapestry with repeated gold sunbursts, adapted from a device

1 Paul Martin, "La tapisserie royale des 'Cerfs-Volants,’ ” Bulletin
monumental, cv (1947), 197-208.

favored by his father Charles vi (d. 1422). A winged stag,
used by Charles v, is the focal point of the entire composition.
Martin also tells us that Charles vii used Saint Michael and
the sunburst motif together with his colors at the time of his
solemn entrances into Paris in 1438 and into Rouen in 1449.
The armor of Saint Michael could date a little earlier, circa
1430-1440. The roses indicate still another emblem of
Charles vii. Martin singles out as evidence for several of these
devices the Fouquet miniature in a Boccaccio manuscript in
Munich which represents the Lit de justice de Charles VII
of 1458 and which shows a great room decorated with red,
white, and green banded hangings garnished with scattered
white and red roses and dominated by two pairs of huge,
white, and winged stags with gold crown-collars rimmed with
fleurs-de-lis. Each pair of stags supports a blue shield similar
to those seen in the Rouen tapestry.

Martin also interprets the inscriptions and the symbolism
of the tapestry as either prophetic of the events of 1436-1440
or a commemoration of them. Paris was liberated finally from
the English in 1436 and Charles’s entry into the capital of
Ile-de-France may be indicated by the stags which occupy the
enclosure and by the stag about to step over the barrier.
Martin suggests that this might also be a veiled allusion to the
formation of a unified royal army, victorious under Charles
vii in 1439. The departing boat may represent a wishful
thought of Charles for the departure of his English enemies.

The tapestry is valuable beyond such historical and sym¬
bolic speculations. It is a masterpiece of composition and it
implies the draftsmanship of a very great anonymous artist
who must have supplied the now-lost cartoon. In general,
the tapestry reflects the taste and interest of a generation of
artists used to consider nature studies in sketchbooks as prob¬
ably first introduced by the North Italians. 2 The stags are
(Continued on page 382)

2 Otto Pacht, "Early Italian Nature Studies and the Early Calendar
Landscape," Journal of the Warburg and Courtauld Institutes,
xiii (1950), 13 ff.

290

CHAPTER SEVEN

Late Gothic Art

Burgundy, mid-15th century

VII I Saint Christopher , Limestone, H. 31 inches. Provenance: Found near

Saint Benigne at Dijon. Saint Louis, City Art Museum, 3*34.

Found near Saint Benigne in Dijon, this fragment of a life-
size Saint Christopher is important as a monumental culmina¬
tion of the style and influence of Claus Sluter in Burgundy.
The full wavy beard, the wrinkled face, and the massive torso
axe features which recall Sluters masterpieces created for
Philip the Bold at the Chartreuse de ChampmoL However,
the present work shows certain crucial new elements which
announce a new phase in Gothic sculpture, generally called
late Gothic. These new elements include the stiff, crackling,
angular draperies, and the linearism of many details, as in the
beard and hair. Also the naturalistic interests of Sluter are
intensified in many details such as the veins on the left hand.

Remnants of the Christ Child on both of the giant Saint*s
shoulders, plus the upheld right arm, provide clues to the
original appearance of the group. The Saint leaned on his staff
held by this arm; his left hand must have held up his robe,
bunched at the waist, to avoid the swirling river which must
have been represented below. His head is tipped towards the
growing burden on his shoulder. The Saint, however, monu¬

mental and involved in contrapposto movement, is expres¬
sive of a certain pensive melancholy and quiet dignity.

An approximate date can be suggested in relation to a
sculptural representation of the Holy Sepulcher in the Hos¬
pital of Tonnere carved between 1451 and 1453, a work by
Jean Michel and Georges de la Son netted This comparison,
suggested by Meyric R. Rogers, reveals a common monumen-
tality, a similar sense of movement combined with emotional
dignity and realistic sculptural detail. For those interested in
Netherlandish and German sculpture of the late Gothic pe¬
riod, and as suggested by Theodor Muller, s the present work
prefigures what is to come in those areas, especially in the
works of Nikolaus Gerhaert von Leyden, who was also in¬
fluenced by Sluter.

1 Marcel Aubert, La sculpture fran$a/se au moyen-age (Paris,
1946), p. 379 repr.

3 Letter from Theodor Muller, Director, Bayerisches Nationalmu-
seum, Munich, September 16, 1953.

294

Touraine, mid-15th century

VII 2 Mourning Virgin from a Crucifixion Group. Walnut, H. 42-3/4

inches. Provenance: Abbey of Beaugerais (Indre-et-Loire).

New York, The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1916.

The Virgin stands mute, head bowed and covered by her
heavy mantle, one end of which is caught up beneath her
crossed hands. She wears a wimple which hangs over her
tunic-like dress tied at the waist by a belt. Her silent grief is
almost palpable. She once stood, monumental and with rustic
force, at the side of a lost cross formerly at the Abbey of
Beaugerais (Indre-et-Loire). The mourning Saint John is
now in the Louvre. Nearly all traces of the original poly-
chromy have disappeared from both figures.

It is possible that the sculptor was directly inspired by
nature, which would explain the realism of the face and

hands, yet there is a parallelism with the heavy monumentality
of the drapery which is occasionally seen in the paintings of
Jean Fouquet 1 or the Master of Aix. The angularity of the
folds may reflect Flemish influence into the Touraine, while
the general massiveness is comparable to some late Burgun¬
dian works. Certain details of the sleeves and tunic are similar
to the Burgundian Saint Christopher (cat. no. vn-1).

1 Paul Vitry, "Quelques bois sculptes de Tecole tourangelle du
XV e siecle,” Gazette des Beaux-Arts, 3 Per., xxxi (1904), 116.

296

Ca.1450

VII 3 Saint Anthony, Armorial Hanging of the Chancellor Rolin* Tapestry,

wool, H. 70, W. 103 inches. Beaune (Cote-d’Or), Hotel Dieu.

One of thirty-one tapestry hangings, of which thirty still exist
at Beaune, this Armorial Hanging was ordered around 1450
by Nicolas Rolin, Chancellor of Burgundy, and his wife
Guigone de Salrns, for use on solemn feast days as bed screens
for the sick in the Hotel-Dieu which they had founded at
Beaune. The present hanging, like the others in the series, has
a rose background with stars and turtledoves alternating with
an interlaced N and G and the device: senile. At the four

corners are the arms of Nicolas Rolin and Guigone de Salins,
The figure of Saint Anthony stands in the middle. The style
of drawing of the Saint's physiognomy presupposes a cartoon
design in the tradition of Paris illumination in the second
quarter of the fifteenth century, especially that of the waning
Boucicaut and Bedford workshops. The place of the weaving
of this tapestry has never been determined. Excepting Beaune
itself, Arras is a likely candidate.

298

Touralne, ca, 1452-1460,

by Jean Fouquet, ca.l4l5/20-1481

VII 4 Miniature showing Saint Veranus f Bishop of Cavaillon } Curing the
Sick, Vellum sheet, H. 8-5/8, W. 5-3/4 inches. Provenance; Hours of
Etienne Chevalier. New York, Wildenstein Foundation, Inc.

In its original state the Hours of Etienne Chevalier illum¬
inated by Jean Fouquet must have been one of the half dozen
or so most beautiful Books of Hours painted in the fifteenth
century. Now it exists only in brutally clipped and excerpted
miniatures, forty of which are preserved in the Musee Conde
in Chantilly, two in the Louvre, one each in the Bibliothequc
Nationale and the British Museum, three in the collection of
Count Bearsted in England, one in the collection of Robert
Lehman in New York, and the present one from the collec¬
tion of the late Georges Wildenstein. Still missing are all of
the calendar illustrations as well as a number of other minia¬
tures thought to have existed in the original manuscript.

Etienne Chevalier was an important court official in the
courts of both Charles VII and Louis XL He was born in
Melun. Fouquet painted his portrait with his patron saint,
Saint Stephen, on the left wing of the altar diptych of Melun,
now in Berlin. The Hours also included the patron’s portrait:
in one of two facing miniatures where he is shown kneeling
before the Virgin and in the Entombment where he is shown
kneeling at the feet of the dead Christ. Paul Wescher has

noted that in both cases these portraits represent the same man
portrayed in the Melun a Earpiece, and in each case the sitter
seems to be about the same age as the others. Therefore the
manuscript and the altarpiece can be dated at the same time,
during the last years of Charles vii's reign.

The present miniature depicts Saint Veranus, Bishop of
Cavaillon, curing the sick in a side aisle of Notre-Dame in
Paris. Here Fouquet reveals that he had assimilated all of the
lessons he had learned during his sojourn of 1443 to 1447 in
Italy in space, in interior perspective, in the rendition of fig¬
ures with mass and ponderosity within this space. We can
recognize the shadowy interior of the great Parisian cathedral
as it appears today. Because Fouquet presents a miracle in a
life-like setting and in a naturalistic way in French settings
and on French soil, his miniatures appear disarmingly simple
and without effort. Yet his art is in reality deeper than simple,
prosaic naturalism, for it is a poetic entity in which jewel-like
color, luminosity, fluid line, deep space, and plasticity are the
means of expression of a profound visual order and harmony.

300

Ca. 1470, VII 5 Miniature showing Queen Medusa Enthroned . Vellum sheet, H.

close to Maltre Francois 5-1/8, W. 3-9/16 inches. Provenance: Boccaccio, Des cleres et nobles

femmes, now Spencer MS.33, New York Public Library, The Cleveland
Museum of Art, Gift of J. H. Wade, 24.1015.

As given in Boccaccio’s text, the Cleveland miniature shows
Medusa as the beautiful, wise, and rich daughter of Phorcis.
In the background her forces are defeated by Perseus, Eleanor
P. Spencer has established that this small painting on vellum
originally belonged to a copy of Boccaccio's Des cleres et
nobles femmes , which is now in the Spencer collection in the
New York Public Library (MS.33)d Between 1920 and
1924, this work and possibly three other miniatures seem to
have been alienated from the manuscript after it had been
sold from the collection of Lord Mostyn, perhaps while it
was in the collection of Mme. Th. Belin in Paris, The index
for the manuscript permits a reconstruction of the original
location of the Cleveland miniature. It was the former folio
xxii situated between the Erythrean sibyl (folio xxi) and
Iole (folio xxni), now also missing, and before Deianira
(folio xxiv ). The coat of arms in the Spencer manuscript
was first identified by Denis Coster as that of Gilbert de La
Fayette, seigneur de Saint-Romain, Marechal de France under
Charles vil The sale catalogue for the collection of Mme.
Belin suggested Claude de Vissac of Auvergne. More recently
Miss Spencer proposed Jacques d'Armagnac, Due de Ne¬
mours (d. 1476). 3

Miss Spencer has shown that the miniature is stylistically
related to the close associate of Maitre Francois who illumi¬
nated the Cite de Dieu of the Bibliotheque munidpale at
Macon (MS, 1-2).* The localization of this work has not

1 Letter, Eleanor P. Spencer, March 22, 1965.

2 Denis Coster, in Le Figaro, supplement artistique, December 20,
1928, p. 171, Sale , Bibliotheque de Mme. Th. Belin (Paris,
1936). Letter, Eleanor P, Spencer, March 22, 1965.

* Comte A, de Laborde, Les mannserhs d peintures de la Cite de
Dku (Paris, 1909), n, 448 ff.

been fully determined. Comte de Laborde attributed the
Macon manuscript to the Ile-de-France or to Normandy. A
relationship with Fouquet and the school of Tours has been
suggested.

In comparison with the preceding miniature by Fouquet
(cat. no. vii-4) , we can say that the two miniatures could not
be more different. The Medusa continues the architectural
excerpts, the glimpse of distant landscape, and the multiple
episodes familiar to us in the work of the Parisian Bedford
Master and his followers (cat. no. vi-35), The figures are
also elegantly garbed, weightless and without volume. The
composition is conceived in terms of successive screens, lead¬
ing back and up into space as in the works of the Bedford
circle, and as in tapestry designs as late as the early sixteenth
century (see cat. nos. vir-22 through 25). The color and pat¬
terns are decorative and gay, and emphasize the surface of
the miniature. The Fouquet miniature, by contrast, is pre¬
occupied with deep continuous space—in this case the interior
of Notre-Dame of Paris. Fouquet places his figures, which
have mass and ponderosity, one behind the other. They are
not simply overlapped low relief cut-outs. However, in fair¬
ness to the Medusa miniature, it should be recognized that
it is a pleasing and harmonious example of the last flowering
of book illumination in which the page of the book is re¬
spected. Fouquet, by his greatness as an artist, was able to
break into the space of the page without destroying the quality
of the book itself. The great Flemish Master of Mary of Bur¬
gundy also was successful in this, whereas the book illumina¬
tions of Jean Bourdichon (1457-1521), were only small
panel paintings whose deep spaces were irreconcilable viola¬
tions of the book page.

302

Burgundy, ca.1462,
by Antoine Le Moiturier,
Avignon 1425-Dijon 1497

VII 6 Mourner. Vizellealabaster (Grenoblestone), H. 16-1/8 inches.

Provenance: Tomb of Duke John the Fearless, Chartreuse de
Champmol near Dijon. The Cleveland Museum of Art, Purchase from the
J. H. Wade Fund, 40.129.

During his lifetime John the Fearless had hoped to have his
tomb in the chapel of the Chartreuse de Champmol com¬
pleted along the lines of his father’s, Philip the Bold (cat.
no. vi-21). However, the project lagged as John lost interest,
and it was only after his murder on the bridge of Montereau
in 1419 that his son, Philip the Good, attempted to finish the
project. After many delays the work was not finally consum¬
mated until after 1462 when Antoine Le Moiturier, ymag-
inator lapidum de Avinione, the sculptor from Avignon, was
summoned to finish the second tomb at Dijon. This artist was
so successful in continuing the style and character of the ear¬
lier mourners by Claus Sluter and Claus de Werve, that today
the two tombs seem in their entirety almost of the same period
and style.

Closer examination of individual figures such as the pres¬
ent work by Antoine Le Moiturier reveals significant changes
which betray the artist and relate his work to a later style.
The heavy massive draperies and the upturned face are char¬
acteristics from the early period. The realism in details begun
by Claus Sluter is continued, such as the fur lining of the
Mourner’s cloak and thrown-back cowl. However, the stiffer
angularity of the folds, the greater emphasis on block-like
mass, and the stereotyped expression of anguish on the face
indicate a sense of objectivity more akin to that of the Master
of Aix than to the eloquent and expressive art of Claus Sluter.
There is a certain parallel in these respects with the Saint
Christopher from Saint Louis (cat. no. vn-1). Antoine Le

Moiturier’s Mourner, like a figure in a painting by Cezanne,
is massive and powerful but emotionless.

The high esteem with which Antoine Le Moiturier was
held shortly after his own time was indicated when Michel
Colombe expressed his own wish to use the same stone for the
tomb of Philibert de Savoie as that used by Master Claus and
Master Antoine: ... mesmement par maistre Claux et maistre
Ant hornet, sourer aim tailleurs d'ymaiges, done je, Mi chi el
Coulornbe, ay autreffoy en la congnoissance . . .* This was
in 1511.

Curiously, the head, facial expression, direction of gaze,
cut of the hair, and general pose of this Mourner do not fol¬
low any model at Dijon as directly as they do a pleurant from
the tomb of the Duke de Berry, in the Sainte-Chapelle at
Bourges, completed in the 1450’s. The similarity, noticed by
Pierre Pradel, presupposes either the existence of pattern
drawings, or the possibility that Antoine Le Moiturier ex¬
amined both the pleurants at Bourges and those at Dijon be¬
fore he proceeded with his own task. 2

1 See Paul Vitry, Michel Colombe et la sculpture fran^aise de son
temps (Paris, 1901), p. 489. William M. Milliken, ‘Two Pleur¬
ants from the Tombs of the Dukes of Burgundy,” cm a Bulletin,
xxv (October 1940), 120-121.

2 See Pierre Pradel, “Nouveaux documents sur le tombeau de Jean
de Berry, frere de Charles V,” Fondation E. Piot, Monuments et
Memoires, xlvix (1957), 152-154, figs. 11, 13 (a, b).

304

Northern France,

third quarter 15th century,

by Simon Marmion, ca, 1425-1489

VII 7 Pieta. Tempera on vellum, H. 4-3/4, W. 3-5/S inches. Philadelphia,
John G. Johnson Collection, no, 343.

It is not certain whether this moving, intimate Fieta painted
on a sheet of vellum was intended as an image de c be vet —an
object of private meditation and prayer hung within the cur¬
tained enclosure of the owner’s bed—or whether it was a
large miniature taken from a book of private devotions—a
Book of Hours. It is in some ways similar to a miniature from
a Book of Hours in the Munich National Museum (MS,
3005) in which the Virgin faces the live Christ, both half-
length, in front of a whndow' with a distant landscape, 1 This
miniature from the workshop of Marmion still retains a por¬
tion of its painted frame of apostles in niches.

The present work is especially beautiful for its ivory tonal¬
ity offset by soft blues and gold in the background. Line gives
an incisive limit to form and in its variation helps to model
form. The shadows in the angular drapery folds and the un¬
dulations of flesh are given by subtle gradations. The figures
are large and close; all of the iconographical necessities are
clearly shown,

1 Friedrich Winkler, Belgiscbe Kmistdenkmaler (Munich, 1923),
I, figs. 274, 275.

This small masterpiece, while admittedly dependent on
Flemish painting, is peculiarly French in its light palette and
its delicate eggshell finish. The painter was probably Simon
Marmion, who is thought to have been born at Amiens, where
he is mentioned as a gilder and polychromist between 1449
and 1454. Known to have completed a figure of Christ for
the City Hall of Amiens the last year he w^as there, he subse¬
quently went to Lille, where in 1455 he finished a large reta¬
ble representing the story of Saint Bertin, two shutters of
which are thought to be in the Berlin Museum. Later in life
he worked mainly at Valenciennes from 1458 until his death
in 1489. During part of this time he was one of the chief
miniaturists in the atelier presided over by Jean Mansel, an
editor and translator, as well as the author of La Fleur des
Histoires. With his extraordinary gift as a master of color,
Simon Marmion was referred to as le prince d } enluminure.
One of his masterpieces in this medium is Le Livre des sept
ages du monde (circa 1460) now in the Brussels Royal Li¬
brary (MS, 9047). 2

2 See L. M. J. Delaisse, Miniatures medievales de la lihrarte de
Bourgogne an Cabinet des Manuscrits de la Bthliotheque Roy ale
de Belgique (Geneva, 1959), pp. 152-155, pi. 35.

306

Touraine, ca.1465,

by Jean Fouquet, ca. 1415/20-1481

VII 8 P or trait of an Ecclesiastic. Silverpoint on prepared paper, H. 7-13/16,

W. 5-1/4 inches. New York, The Metropolitan Museum of Art, 49-38.

The inscription in the upper right corner of this silverpoint
drawing reads: Ung Roumain legat de nostre St pere en
france. Contemporary to the drawing, it is thought to refer
to the sitter, a papal legat. In the 1904 catalogue for the Paris
exhibition of French primitives, Henri Bouchot tentatively
identified the sitter as Teodoro Lelli, Bishop of Treviso. In
1464 at age 40, Bishop Lelli accompanied the Bishop of Ostia
on a mission to Louis xi of France. The drawing was attrib¬
uted to Jean Fouquet by Georges Hulin de Loo at the time of
the Paris exhibition. A copy of this drawing in red chalk is in
the Royal Library at Windsor.

A comparison is generally made with a crayon drawing in
the Berlin Museum of the head of Guillaume Juvenal des
Ursins, which is a sketch for the painting in the Louvre. Pi¬
erre Lavallee cautiously questioned the attribution of the pres¬
ent drawing to Fouquet and Klaus Peris stressed its difference
from other drawings given to Fouquet, considering its great
refinement advanced beyond that of the master. Charles Ster¬
ling has suggested that the technique—precise and delicate

silverpoint on prepared ground—was sufficiently different to
explain the divergence from the other drawings, while the
spiritual interpretation and details completely agree with Fou-
quet’s style, known not only in drawings but also in his
painted portraits. In more recent publications the drawing
of a papal legat has been universally accepted as a master¬
piece from Fouquet’s own hand.

The drawing combines a monumentality and idealism,
perhaps inspired by his earlier sojourn in Italy. It also shows
a penetrating eye for essentials. By nuances of shading, cross-
hatching, and incisive line, Fouquet delineates a purposeful
man of affairs who gazes intently at some undisclosed object,
his lips pressed in firm determination. The strength of this
drawing and its depiction of the whole man designate it as
a precocious document of the Renaissance in late Gothic
France. Its scrutiny of a personality is in bold contrast to the
late Gothic spirit of a portrait of a Burgundian Nobleman
painted some twenty-five years later (see cat. no. vii-21).

308

Bourbonnais, caul480, VII 9 Duke John II of Bourbon * Sandstone, H. 11-1 /4 inches* Provenance:

attributed to Michel Colombe, Sainte-Chapelle de BourboftTArchambault Baltimore, The

ca*i430-ca.l511 Walters Art Gallery, 27*510.

The late Martin Weinberger related this small kneeling figure
to the tradition begun by Claus Sluter in his kneeling portrait
of Philip the Bold on the portal to the chapel at the Char¬
treuse de Champmol, and continued in the kneeling figure
at Bourges of John, Duke of Berry, carved a little later by
Jean de Cambrai/ While these two figures are quite different
sculpturally, they do represent an iconographic type which
the present sculpture continues.

The draperies hang loosely about the figure from the
shoulders, breaking in slightly angular folds at the front of
the base, with longer lines and folds over the bent legs and
feet at the back and sides. These draperies, while not clinging
to the figure itself, do reveal it in a fashion not to be found
either in Burgundian sculpture or in the work of Jean de Cam-
brai. Dr. Weinberger observed a similar pattern of draperies
in the funerary effigies by Jacques Morel from Lyons of
Charles i of Bourbon and Agnes of Burgundy, one of the
great sculptural treasures of the Church at Souvigny. The
firmness of the modeling also recalls the portraits at Souvigny,
according to Weinberger* The latter identified the Walters
figure as the son of Charles I, Duke John n of Bourbon, on the
basis of a family likeness* This identification is confirmed to
a certain extent by the tradition which states that the Walters
figure was found at the castle of Bourbon-1 Archambault, the
former seat of the Bourbon family a short distance from
Souvigny and from Mouiins, the capital of the duchy of Bour¬
bon. The head of the Walters figure resembles that of the
second male portrait at Souvigny, which Weinberger identi-

1 Martin Weinberger, “A French Model of the Fifteenth Cen¬
tury," Journal of the Walters Art Gallery, ix (1946), 9-21.

fied also as John ii because of the chain of the order of Saint
Michel w r hich it bears.

Professor Weinberger suggested that the present figure
was carved as a model by a sculptor dose to Jacques Morel
for a lost figure of the Duke which may have been intended
as a supplement to the Sainte-Chapelle, founded in 1311 at
Bourbon-! 1 Archambault* The ensemble may have been icono-
graphically similar to the Notre-Dame-la-Blanche with the
kneeling portraits of the Duke of Berry and his wife which
had been carved earlier at Bourges by Jean de Cambrai* The
present work was not a sculptor's working model, but a rare
if not unique model for the patron which would give him an
idea of the character of the project prior to its commencement.

More recently Pierre Pradel has reconsidered this identifi¬
cation in his book on Michel Colombo.- Pradel noted that a
description by Jean Auberg of 1604 records that a relic of
the true cross was preserved in the small crypt of the Sainte-
Chapelle of Bourbon. With this was a stone cross mounted on
an altar at the foot of which was inscribed: Jean de Bourbon
et Jeanne de France sa femme sont a genoux * Pradel identified
the Walters statuette with one of these priants } or kneeling
figures, and he relates it to the tradition of Burgundian sculp¬
ture emulated by Antoine Le Moiturier, the nephew of
Jacques Morel. Dating the present work around 1480, Pradel
attributes it to the traveling sculptor, Michel Colombe, who
also worked in the Bourbonnais, and who at that time was
very much influenced by this Burgundian tradition.

2 Pierre Pradel, Michel Colombe (Paris, 1953), pp. 25-27, 30,

pi. hi.

310

Limoges, end of 15th century, VII 10 Triptych with the Annunciation , David and Isaiah. Painted enamel on

by Master of the Orleans Triptych copper, H. 7-7/8, W. 13-1/8 inches (including frame) . Orleans

(Loiret), Musee historique.

This Triptych gives its name to a very gifted anonymous
master of painted Limoges enamels active at the end of the fif¬
teenth century. The productions of this master followed after
the relatively coarse work of the so-called Monvaerni atelier,
an example of which may be seen in the permanent collection
of the Cleveland Museum (acc. no. 42.565). J. J. Marquet de
Vasselot has devoted a chapter of his book on late Limoges
enamels to the master of the present Triptych and works given
to his hand. 1

The central plaque depicts the Annunciation under a flam¬
boyant Gothic arch; the two wings present the figures of
David and Isaiah under similar arches, and identified by their
inscriptions: david DESCENDfet] Do[minus] sic[u]t plvvia
and ECCE. VIRGO, concipiet. isayas. The technique of
painted enamel was made possible by enameling both sides of
the copper plaque before firing. This process came into use
during the second half of the fifteenth century. Jean Fouquet
is thought to have experimented with this technique. Exam¬
ples attributed to him are in the Louvre and the Berlin Mu¬
seum.

The present work is remarkable for its rich, earthy colors,
accenting deep blues, rich browns, dull lavenders, intense
greens, and white shaded with gray. Highlights and hatch¬
ings are in gold. The intense expressiveness is due to not only
the artist’s color but also his vivid sense of figurative move-

1 J. J. Marquet de Vasselot, Les emaux limousins de la fin du XV c
s/ecle et de la premiere partie du XVI e (Paris, 1921), pp. 80-94.

ment and dramatic gesture coupled with a tendency to dis¬
torted facial expressions. The result is that the decorous, gaily
colored and elegant Annunciation of the International Style
has been abandoned in favor of a violently movemental one
in rich, earthy colors, in which the hovering Angel and the
kneeling Virgin completely fill the Virgin’s tiny room. This
work, especially in its costumes and architectural details, is
part of the realistic tendency found in so much French art in
the later fifteenth century. However, this is not simply real¬
ism, because the artist is preoccupied in infusing as much
drama and movement as he can into a traditional subject.

Marvin Ross, when publishing several other enamels by
this master, suggested that he might also have been an illum¬
inator. Ross cited a stylistically related Book of Hours in the
Art Institute of Chicago which was painted at Limoges and
which was intended for use there. 2 Other evidence, presented
by Ross, suggests the probability that many artists who first
engaged in producing painted enamels were once illumi¬
nators. As the year 1500 approached, their former livelihood
was partially replaced by the invention of printing. Ross con¬
cluded that, in addition to the alternative work of coloring
woodcut prints, the miniaturists also took up the lucrative task
of producing painted enamel triptychs and other devotional
objects.

2 Marvin Chauncey Ross, “Master of the Orleans Triptych,’’ Jour¬
nal of The Walters Art Gallery, iv (1941), 15 ff.

312

KflHSl

Ca.l490

VII 11 Lady with Three Suitors. Pen and brown ink and ink wash on paper,

H, 9-1/16, W. 7-5/S inches. Inscription: Celuimainour conquesteraf
qui dec a ce lass passera/Sams lempirer ne desnouer/sanss dessuss/ne dessoubz
passer , The Cleveland Museum of Art, John L. Severance Fund, 56.40.

The inscription in translation reads:

He who wants to conquer my love
Shall have to pass across this chain
Yet underneath not , nor above
Nor damage nor undo its train.

The gentlemen seem perplexed as to how to proceed. The
drawing was undoubtedly one of a series, each with verses or
mottos of a similar nature.

This drawing is thought to be French on the basis of the
figure style and the costumes. It can be dated to the reign of
Charles viii (1483/92-1498), Joan Evans’s description of
men's fashion of this period could almost be that of the gen¬
tlemen in the present drawing. She refers to a manuscript-—
Angeli’s translation of Ptolemy’s Geography—written in
1485 for the Seigneur de la Gruthuyse which shows "a new

feeling for squareness in the cut of the fringe, the soft square
caps of the attendants, and even in the square toes of the
shoes. The bombard sleeves that had been so long in fashion
were no longer worn; high collars, too, passed from the
mode, and by the end of the reign of Charles vm a shirt-collar
of fine linen was permitted to show instead. The sleeves of
outer garments were wide and loose. 3 ' 1
The paper for this drawing has a watermark of a wheel,
similar to Briquet 13389, of which each known example falls
within a period of 1484 to 1525. 2

1 Joan Evans, Dress in Medieval France (Oxford, 1952), pp, 62-
63.

2 C M. Briquet, Les fdigrams } dkttonnaire historique des marques
du papier (Paris, 1907), iv, 668.

314

_^ iLvp >wamoutf <xnwfucfi«A<t

Ajju.) tf

-nc^c^nouci^ #

j~\\V\C- &CfJ : U&MC%cfj6tl(>J fhlfjiSL. j

£ -r- --^’

- >: •

Languedoc,
end of 15th century

VII 12 Saint Margaret. Marble, H. 15-3/8, W. 9-5/8, U 6-9/16 inches.
New York, Leopold and Ruth Blumka.

The representation of Saint Margaret bursting out of the
dragon in this marble sculpture conveys much of the legend¬
ary meekness of the martyr Saint. From this figure we can be¬
lieve with Anna Jameson that the Saint was chosen for her
innocence and faith as reflected in the phrases of old metrical
legends quoted in Mrs. Jameson's book:

Mild Mar gar et e } that was God's maid;

Maid Marg arete, that was so meek and mild . * . ?

The Saint's face and slightly swelling bodice are delicately
rounded and smooth. Her eyes are crescent-shaped and her
mouth has a dimpled innocence. Tightly and regularly curled,
her hair falls in eight or so strands down the front and back
and over her mantle, which is patterned in relief, like Italian
velvet. Loosely draped, this mantie is pulled about the Saint
just above the body of the scaly dragon. As she emerges, she
seems to open her mantle like a flower developing from its
earlier form as a bud. She reveals not only her delicate form
but also her belt with a symbolic chain. Her hair is held in
place by a thin diadem set with stones, the present garnets
perhaps not entirely the original ones. As a complete sculp¬
tural ensemble, this work is remarkable for the contrast of
the idealism and delicacy of the figure, accented by certain
realistic details, set against the scaly and repulsive textures of
the lizard-turned-dragon at the base of the composition.

A comparison of this small sculpture with several others

1 Anna Jameson, Sacred and Legendary Art (Boston and New
York, 1895), n, 507,

thought to have been produced in Languedoc, provides the
stylistic evidence for a similar attribution here. In fact, the
Margaret is so close in the details of the carving of the face,
of the long curly hair, and of the draperies that it can be as¬
signed to the particular master and workshop which produced
the stone Saint Mary Magdalen in the Musee des Augustins
in Toulouse, the painted stone Annunciation Group from the
Vigouroux Chapel in the Cathedral of Rodcz (now in the
Church of Inieres ), and possibly also the painted stone Virgin
and Child at Bellegarde. 2 Admittedly there may be connec¬
tions with Italian sculpture and with sculptural traditions in
Burgundy and the Bourbon nais, perhaps conveyed through
Jacques Morel who worked at Avignon, Beziers, Montpellier,
and Rodez from 1441 to 1445 (see cat. no. vo-9). On the
other hand, these figures can also be viewed as a natural evo¬
lution of the older sculptural traditions of Languedoc, as
verified, for example, by comparison with the Virgin from the
Chapel of Rieux of circa 1324 to 1348 now in the Musee
Bonnat in Bayonne (see cat no, v-11), or with the Virgin
from Colombes de Montpezat 3

2 Mathieu Meras, “La Vierge de BeUegarde,” Bulletin du Musee
Ingres , ix (July 1961), 5-8, figs. 4, 6. T risers d'art gotktque en
Languedoc (Montauban: Musee Ingres, 1961), no* 101, pis. xvj,
xvii. Daniel Ternois, “Autour de la sainte Madeleine des Au¬
gustins et de Notre-Dame-de-Grace,” La revue du Louvre , xn
(1962), 5-10, figs. 7, 9, 14, 15, 16.

3 Mathieu Meras, “La Vierge aux Colombes de Montpezat et la
sculpture Toulousaine,” La Revue des Arts, ix (1959), 57-60.

316

End of 15th century

VII 13 Bust Reliquary of Sainte-Felicule. Gilt copper, repousse and chiseled,

H. 17, W. 16-1/2, D. 9-7/8 inches. Saint-Jean-d’Aulps (Haute-
Savoie), eglise paroissiale.

The Bust rests on a platform supported by four claw feet. The
base, collar, crown, and other portions retain the mounts for
cabochons, many of which have been lost. At the top there
is an opening for viewing a relic of the Saint’s head.

Francois Souchal mentions this Bust as a late example in
a whole series of such reliquaries, many of which appeared in
the great exhibition in Paris in 1965, Les Tresors des eglises
de France. The fifteenth century shows an increasing tend¬
ency toward realism in these head reliquaries, a reflection of
an over-all pattern in the development of sculpture in any
medium. In time, the busts, like the stone sculptures, took on
life-like attributes as seen in the present work. The features
of the Reliquary’s rounded face, a slight suggestion of a smile,
and a full-blown if excerpted body, could be typical of almost
any local country girl.

318

Northern France, early 16th century VII 14 Candelabrum with the Judgment of Paris. Ivory, H. 6-3/4, Diam.

3-7/16 inches. Saint-Omer (Pas-de-Calais), Musee municipal.

Completely abandoned is the courtly grace, the fluid dra¬
peries, and the aristocratic smile of the ivory carvings of the
fourteenth century (cat. nos. v-18,19,20). The trappings of
that century are here replaced in part by the costume and
armor of the new day, and the nude form, originally in tripli¬
cate, is savored without embarrassment. Not only poetry and
symbolism but also realism rule this miniature world.

According to most accounts, the Trojan War began with
disagreement among Aphrodite, Athena, and Hera, each of
whom wanted for herself a golden apple inscribed "For the
Fairest.’* Zeus, unwilling to anger two of the three goddesses,
had Hermes take the rivals to be judged by Paris, the son of
King Priam of Troy and Queen Hecuba. Each of the god¬
desses tried to bribe Paris—Athena promising glory and re¬
nown in war, Hera wealth and power, and Aphrodite the
most beautiful woman in Greece as his wife. The ivory shows
Paris in a reclining position pondering his momentous choice
between each of the three nude goddesses before him. (Only
the feet of the third are preserved.) Behind him is Hermes
and beyond, his horse with an attendant.

The story of ancient Troy had a peculiar fascination in late
medieval France, and was part of a larger interest in secular
literature, pseudo-historic accounts, chronicles, and romances.
Many works had allegorical or symbolic meaning, and the
present story of Paris depicted in ivory may have once had a

dual meaning for its first owner. In any case, it can be classed
with two other ivory supports, stylistically related and ped¬
estals for a larger figure group. 1 The pedestals have been
dated in the early sixteenth century and assigned to north
French or Flemish workmanship. One of these, formerly in
the Figdor collection, with a man drawing his sword and a
fool looking up to the nearly nude woman, back to back with
a skeleton, is apparently a reference to Hercules’ dream of a
choice between voluptuousness and virtue as related in Se¬
bastian Brandt’s Ship of Fools published in 1494. The related
pedestal, which does not retain its surmounting figure, is
now in the Cloisters collection, New York, and its figures
relate to courtship and marriage, possibly as given in the long
allegorical poem, Roman de la Rose, dating from the thir¬
teenth century. While the Candelabrum was not carved by the
same hand as the pedestals, it has been assigned to the same
period, the early sixteenth century. Its present ownership may
be a clue to a north French localization. Despite the ravages
of time, this ivory object of the late Gothic period still con¬
veys much of its intended charm.

1 Raymond Koechlin, Les ivoires gothiques fran^ais (Paris, 1924),
II, 235-236, nos. 1244-1246. Bonnie Young, “Scenes in an Ivory
Garden,” The Metropolitan Museum of Art Bulletin, xiv (June
1956), 252-256.

320

Late 15 th century

VII 15 I viptych with Scenes from the Life of the Virgin. Gold and translucent

enamel, H. 2-1/4, W, 1-25/32 inches (dosed and including frame).
Inscription on frame: domjnvs : DISIT : ad : ME : filivs : mevs : ns : Tv : ego :
hooiE : gen vj : TE, (The onyx cameo with the Nativity is Italian, 13th century.)
The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 47.508.

Like the splendid enamel Medallion from the Seligman col¬
lection (cat no. vi-24), the present work has long been con¬
sidered a late example of the International Style. Joan Evans
called it Burgundian, dated it in the middle of the fifteenth
century, and related it to an earlier reliquary recorded in the
inventory of 1380 of Louis of Anjou. In the Exhibition of
Gold in Cleveland in 1947—1948, it was dated in the first
half of the fifteenth century, and the prophets on the exterior
of the wings were compared with Claus Sluter. More recently
it appeared in Cleveland's exhibition of Gothic Art 1360-
1440 because of these prophets, while the remainder of the
enameling was called "Close to Jean Bourdichon, ca.1495.’' 1
It is now felt that all of the enameling is of this later date.
The cameo has been tentatively identified by Hans Wentzel
as Italian, perhaps as early as the first half of the thirteenth
century.

The later dating of the enamels is proposed on the basis of
style. The Education of the Virgin in the center on the back
seems to be based on the central panel of the Naples Triptych
by Jean Bourdichon, 2 The pose, proportions, drapery of the
enamel's Saint Anne and Bourdkhon's Virgin are almost
identical. Even more striking is the architectural space in
which the tw r o groups are seated. This is a rectangular, coL
umned tempietto with a waist-high parapet. Closer examina¬
tion reveals that the enamel tempietto has two concentric
parapets with columns, space-filling and obviating a near-
impossible repetition of Bourdichon h s landscape. The enamel
columns are patterned in a way which recalls late fifteenth-
century tapestries.

A study of the scenes on the fronts of the wings reveals
parallels with the paintings of Maitre de Moulins now identi¬

1 Joan Evans, A History of Jewellery 1100-1870 (London, 1951),
p. 79- William M. Milliken, 'The Art of the Goldsmith,"
Journal of Aesthetics and Art Criticism, vi (June 1948), 321,
fig, 7. "Catalogue, Gothic Art 1360-1440," cma Bulletin , L
(September 1963), 177, 204, no. 34,

2 Reproduced in color in Art de France, 11 (1962), 243.

fied as Jean Prevost. 3 The low, flattened curves of the arches,
as well as other details of the settings and figure style, are
especially reminiscent of this master's work. The exterior of
the wings, which at first glance seem so conservative and
early, are especially comparable in drawing, proportion, and
draperies to the figures on the Bourbon Diptych, a similar
work in enamel in the Wallace collection, which represents
on one side Charlemagne and Saint Louis, King of France,
and on the other, the kneeling Pierre de Beaujeu presented by
Saint Peter and the kneeling Anne de France presented by
Saint Anne, 4 Since the Bourbon Diptych is iconographically
incomplete, we may suppose that its leaves once included as a
triptych the figure of the Virgin and Child and may have re¬
sembled in form the Cleveland Triptych. The fact that Saint
Anne is so prominent in the latter, and that the life of the
Virgin is stressed might indicate that the present work be¬
longed to a woman named Anne, possibly Anne de France
herself.

Since the Seligman Medallion may have been produced in
the same workshop as the Cleveland Triptych and the Bour¬
bon Diptych, it is of interest to propose two other enamels
which may be related m a similar way. One of these is a com¬
posite work in the Altman collection of the Metropolitan
Museum. 5 This is an enamel triptych which backs and frames
a fifteenth-century Italian intaglio of Saint Sebastian. The
enamel wings depict on their interior faces two saints with
angels, and on their exterior faces (when closed) a Nativity
scene with Joseph, On the back is the Virgin and Child on a
crescent. The technique, colors, and style are almost identical
to the Cleveland Triptych. Another work, in the collection of
Robert Lehman in New York, is a single pendant with a
(Continued on page 385)

3 Jacques Dupont, "jean Prevost, peintre de la cour dc Moulins,"
Art de France, HI (1963), 76-89.

4 Crete Ring, A Century of French Painting, 1400-1500 (London,
1949), p/238, no. 296, figs. 44, 45,

5 Handbook of the Benjamin Altman Collection (New York,
1928), pp. 97-98, repr.

322

Loire Valley, ca.1500

VII 16 Story of Saint Eloi with Saint Fiacre.Tapestry,H. 57-1/8, W. 301
inches. Beaune (Cote-d’Or), Hotel Dieu.

This long hanging, which illustrates part of the story of Saint
Eloi, has received little notice in literature on late Gothic tap¬
estries. It is of a type known as mille-fleurs because of the
over-all background of distinguishable flowering plants. This
background is also filled with animal life and birds of various
identifiable species. The style of the drawing of the faces and
figures, as well as the color and the mille-fleurs background,
make possible an attribution to the same ateliers of the Loire
Valley who produced the Courtly Life series in the Cluny
Museum, the Concert tapestries belonging to the Gobelins
Museum (cat. no. vii-26) and at Angers, the Life of Saint
Stephen series in the Cluny Museum, the Lives of Saints Ger-
vais and Protais in the Cathedral of Le Mans, the Depart for
the Hunt also in the Cluny Museum, the Chaumont tapestries
in Cleveland and Detroit (cat. nos. vii-22 to 25), as well as
a number of other tapestries. Some of these have a mille-fleurs
background throughout; others, like the Chaumont series,
give landscape vistas in the upper portions of their composi¬
tions. Full details and basis of dating the entire group between
circa 1500 to circa 1510 are given in Dorothy Shepherd’s de¬
finitive discussion on the hangings from Chaumont. 1 The
drawing and modeling of the spirited horse in the present
work is especially similar to that of the horse which bears
Louis xii in the Depart for the Hunt in the Cluny Museum.
One of the characteristics of the Loire group, according to
Miss Shepherd, is that the figures lack integration within their
setting, and "stand against it isolated and gesturing like fig¬
ures in a tableau." 2 While this feature may be more obvious
in the remaining tapestries in the exhibition, this pantomime
spirit can be observed also in the striking figure of Saint Eloi
kneeling just to the right of the Virgin. The figures appear
here to be tied a little more into the background because of
the islands of grass beneath them which accent a receding
ground plane. The great horizontal length of the Eloi tap¬
estry is comparable to two other works in the group, both hav-

1 Dorothy Shepherd, "Three Tapestries from Chaumont," cma
Bulletin, xlviii (September 1961), 159-177.

2 Ibid., p. 166.

ing religious and narrative purposes: the Life of Saint Stephen
and the Lives of Saints Gervais and Protais.

However, this hanging from Beaune does not attempt to
recount the full life of Saint Eloi, but presents only the epi¬
sode in which the Saint subdued a horse possessed of the
demon which had been brought to him to be shod. Anna
Jameson tells us that Saint Eloi, "no whit discomfited by these
inventions of Satan, cut off the leg of the horse, placed it on
his anvil, fastened on the shoe leisurely, and then, by making
the sign of the cross, replaced the leg, to the great astonish¬
ment and edification of the faithful." 3 The tapestry shows the
(Continued on page 385)

3 Anna Jameson, Sacred and Legendary Art (Boston and New
York, 1895), pp. 713-714. See also Louis Reau, Iconographie de
I'art chretien (Paris, 1958), ill, pt. 1, pp. 422-427.

324

Second decade 16th century

VII 17 Angel Reliquary. Silver and copper gilt, H. 7-1/2* W, 4 inches

(including base) * Inscription: DU chief de saint pavace.
Saint-Pavace (Sarthe), eglise*

An angel kneels on one knee and presents a circular reliquary
with great seriousness of countenance. The figure is raised
from silver sheets in a method called en coquille (shell tech’
nique) and is partially gilded. His hair and wings are care¬
fully chiseled with admirable precision, and the inscription
is rendered in openwork. The figure and drapery style of this
small work are related to the developments of contemporary
sculpture and its tendency toward greater realism and mono-
mentality. The motif itself, a kneeling angel, can be com¬

pared with the "angelots” in stone and marble which bear
coats of arms, crowns or pillows at the head of funerary
effigies* The angels by the sculptor Michel Colombe are espe¬
cially similar to the examples carved circa 1502-1507 for the
Tomb of Francois II of Brittany and Marguerite de Foix, his
wife, in the Cathedral of Nantes. 1

1 Pierre Pradel, Michel Colombe (Paris, 1953) , chapter v, pis. ix,
xi. Marcel Auberty La sculpture francaise an moyen-age (Paris,
1946), p. 407 repr.

326

Champagne, VII 18 Madonna and Child. Silver and gilt silver, H. 20-13/16, W. 7-1/2

second decade 16th century inches (including base) - Provenance: Said to be from the convent of

the Ursulmes at Troyes, Baltimore, The Walters Art Gallery, 37.712,

In the early sixteenth century, Troyes witnessed a remarkable
flowering of free-standing stone sculpture. Many of these
works, some quite monumental, are still preserved in Troyes
and the vicinity. The Virgin and Child of circa 1308-1512 in
the Hotel-Dieu at Troyes, the Saint Martha of circa 1510 in
the Church of Saint Mary Magdalen at Troyes, and the Visi¬
tation group of circa 1520 in the Church of Saint-Jean-au-
Marche are just a few of the extant masterpieces rendered in
the stone of the region. Other works in this style have mi¬
grated to America—to the Metropolitan Museum and The
Walters Art Gallery—and one extremely handsome piece was
acquired by the Toledo Museum of Art in 1958, All of these
pieces are especially fragile because of the softness of the
stone. All the religious figures tend to be represented as local
and prosperous bourgeois types. The motif of the long hair
streaming down over the shoulders, front and back, was espe¬
cially popular in representations of the Madonna, The style
seemed to have spread sufficiently enough to characterize this
as a regional one in Champagne.

Two contemporary silver works have recently been pub¬
lished which fall within this style. They are a Virgin and
Child in the Victoria and Albert Museum and the present
work lent from The Walters Art Gallery. 2 Both are con-

1 U Art en Champagne an mo yen age (Paris: Musee de 1'O rang¬
er ie, 1959), cat. nos. 57, 76, 55, respectively.

2 Charles Oman, "A Silver Statue from Champagne, 11 Pantheon f
xviii (I960), 10-11, repr. Philippe Verdier, "A Silver Statue
from Champagne,” Bulletin of The Walters Art Gallery, xv
(March 1963),

strutted of sheets of silver which have been raised to the de¬
sired forms, assembled, and held by solder. The Angel from
Saint-Pavace (cat. no. vir-17) is made in the same technique,
sometimes called en coquille (shell technique). The Walters
Madonna and Child is constructed from four sheets of silver.

Each of these silver figures reflects a larger stone work. The
London example, published by Charles Oman, seems similar
to the stone Virgin at the Hotel-Dieu in Troyes. The Walters
Madonna, according to Philippe Verdier, appears to be based
on the stone Virgin and Child in the Church of Villy-le-Mare-
chal which can be dated around 1517.

Like the larger figures, the smaller silver works also convey
healthy facial types of the region. The Walters Virgin has an
especially individual appearance and rusticity. However, the
way in which her flowing mantle hangs at the sides and back,
and is pulled across her bodice over her left arm gives her a
certain grandeur. As in the stone and wood sculptures of the
period, the drapery folds often abandoned the fluidity of
earlier modes and are broken up into many folds, facets, and
changes of direction. In some areas this Gothic mannerism
preceded the final capitulation to the inroads of High Ren¬
aissance style in the north.

328

Limoges,

second decade 16th century,
by Master of the Louis XII Triptych
and Assistant

VII 19 Triptych Showing the Annunciation and the Nativity. Painted enamel
on copper, H. 7-3/8, W.6-11/16inches (including frame).
Baltimore, The Walters Art Gallery, 44.145.

The Nativity and Annunciation scenes both depend in cer¬
tain stylistic and iconographic features upon Flemish painting
of the later fifteenth century. The Nativity especially recalls
the Portinari Altarpiece by Hugo van der Goes in the angular
drapery folds, the modeling of the heads, the cluster of angels
worshipping the Christ Child, the angels hovering above, the
architectural setting with the prominent column, and the cu¬
rious rustic shepherds. Most of these Flemish features were
conveyed to the e name list by a print—a Nativity engraving
by Israel von Metkenem (Bartsch 3 5) —and by French panel
paintings like the famous Triptych by the Maitre de Moulins
(Jean Prevost). The Chaumont Triumph of Eternity tapestry
provides a parallel to the enamel in that it too reflects Flem¬
ish-inspired prints and Flemish features in the Maitre de
Moulins work. The Israel von Meckenem engraving, accord¬
ing to Ludwig Baldass, may in turn imply a lost painting by

1 j. J. Marquet de Vasselot, Les emaitx timousins (Paris, 1921),
p. 159,

Hugo van der Goes. 2 The Renaissance pilastcred backgrounds
in the wings of the enamel Triptych are Italianate elements
known in France since the miniatures and panel paintings by
Jean Fouquet (1415/20-1481). The colors are, of course,
completely different from any of these sources. Here we End
violets, brilliant deep blues, grayish greens, bright greens,
turquoise, and ochre highlighted with gold. These colors are
more intense and opulent than those of the more somber Or¬
leans Triptych (cat. no. VII-10) . The sense of spatial ambiance
is greater in the later work which, generally speaking, hovers
between medieval archaism and a fully Renaissance concep¬
tion of space and architectural setting. Technically the enamel
Triptych is very different from the earlier translucent enamels
which follow the style of both the Maitre de Moulins and
Jean Bourdichon (see cat. nos. vi-24, vii—15).

2 Ludwig Baldass, " Ni eder land is che Bildgedanken im Werke des
alteren Hans Holbein,'* Behrage zur Geschichte der denUchen
Runst (Augsburg, 1928), u, 165, Eg. 123.

330

Touraine,

second decade 16th century,
circle of Michel Colombe

VII 20 Relief Heads of a Alan and a Woman . Marble, H. 5-1/2, W. 4-3/4,
D* 3-1/S inches (man) ;H. 5-3/4, W. 5-3/4, D, 3-5/8 inches
(woman). The Cleveland Museum of Art, Gift of William G, Mather,
21.1003, 21.1004.

These two small, highly finished marble Heads, like the
painted enamel Triptych by the Master of Louis xir (cat. no.
vo—19), are superb examples of the last flowering of Gothic
art in France coming before the increasing advances of the
Italian-inspired ' Renaissance” in France, The marbles are
carved in three-quarter round with the back cut flat* That both
Heads were intended to be used as high relief sculptures, as
opposed to three-dimensional works, is further underscored
by the greater fullness given to the far side of each face near¬
est the background* Viewed face-on, these Heads look awk¬
wardly lopsided; viewed in profile or from a three-quarter
view they appear to be completely and naturally modeled.

The surface of both Heads has been polished to a smooth
satin finish and there is no trace of weathering. Irregularly
broken at the necks and with the tips of the noses broken
away, these sculptures may be vandalized fragments of some
larger sculptural context not at present known.

A bit of marble at the back of the man's neck may indicate a
cowl or some part of a loose collar. His tonsure suggests that
he may represent a monk or an ecclesiastic. The face is subtly
modeled, and there is a careful regard for underlying struc¬
ture beneath the taut flesh. The furrowed brow and parted lips
express a sense of intense concern if not anguish. The woman,
whose face is rounder and fuller, has a more placid expres¬
sion, although she too parts her lips as if paused in speech.
Her softly modeled countenance is offset by the meticulous,
gently curving coiffure and cap, pinned with a round jewel
at the top. The hair with its braid at the back of the head is
gathered up by intertwining ribbons. The braid, which must
have been longer, is broken off at a point where it would
have fallen free of the head. The coiffure and cap apparently
are the styles au commit in well-dressed French circles of the
first third of the sixteenth century.

When William M. Milliken first published these two very
appealing sculptural fragments in 1922, he made no attempt
to attribute them to any one master although he related them,

because of their soft and gentle beauty, to sculptures dose
to but not by Michel Colombe (circa 1430 to circa 1511). 1
Dr, Milliken found the best parallels in "a group of school
pieces, which center around the famous Virgin and Child of
Olivet in the Louvre.” Of the several comparisons cited, this
Virgin, possibly carved by Guillaume Regnault,- still appears
to provide the closest analogy with the Cleveland Head of
a Woman*

There are no records of the provenance of these Heads and
the intervening years since Dr. Milliken’s first publication
have failed to unravel any of the problems of identification
and attribution. The only new clue, so to speak, is that of
the large relief of Saint George and the Dragon possibly by
Michel Colombe himself and executed in 1508 for the upper
chapel of the Chateau of Gailion. 3 The head of the princess
of Cappodocia in this relief is vaguely similar in modeling
and in its three-quarter position even though it is smaller
and the cap quite different. This suggests that the present
Heads may have been taken from a similar historiated relief
carved by one of the followers of Michel Colombe. In this
case, the flat backs may have been the result of later refinish¬
ing in order to enhance their sale. Another possibility, pro¬
posed by Dr. Milliken, is that these Heads may have come
from relief figures in niches, possibly in a funerary context.
However, renewed comparison with the lesser figures by a
Flemish assistant at the tombs in the Church at Brou seem by
contrast to emphasize the French nuances, delicacy, and su¬
perior quality of the Cleveland Heads*

1 William M. Milliken, 'Two Marble Heads, The School of
Michel Colombe,” cma Bulletin , lx (January 1922), 2-6, repr,
- See Pierre Pradel, Michel Colombe , le dernier imagier gothique
(Pads, 1953), pp. 84-85, pis* xxr, xxn (2).

B Marcel Aubert, Encyclopedic photographique de l*art, sculptures
du mo yen-age (Paris, 1948), pis. 168, 170.

332

Possibly Burgundian, VII 21 Portrait of a Nobleman * Oak panel, H. 16-3/4, W. 10-7/8 inches,

ca. 1490-1500 The Cleveland Museum of Art, Purchase, Leonard C. Hanna Jr,

Bequest, 63-503,

This enigmatic but handsome portrait has been thought to
be French, possibly Burgundian. 1 The color ensemble, empha¬
sizing deep, rich tonalities of black and gray over burgundy-
red and adjacent to dark blue-green, is both unusual and
handled in an authoritative way. While it is possible to see
connections with the Maitre de Moulins (Jean Prevost) 2 in
the handling of the eyes, nose, and lips as well as in the hands
and jewelry, other details, as in the space around the late

1 The suggestion of Wolfgang Stechow in preliminary notes for
the Catalogue of Paintings before 1500 in the Cleveland Museum.
- Jacques Dupont, 'Jean Prevost, peintre de la cour de Moulins,”
Art de France (Paris, 1963), III, 77-89 see especially figs. 2, 4,

11, and 19-

fifteenth-century sword, as well as the distinctive color tonal¬
ity, prevent an attribution to this master. Also, it can be com¬
pared with a number of portraits painted by anonymous
French artists during the second half of the fifteenth century;
none can be said to be by the same hand- 3

The sitter probably is a prince because of his embroidered
shirt and gold chains. The purpose of such a portrait is not
clear. Its present frame, possibly the original one, has a slot
for a lost sliding panel which might have provided protection
for the portrait when it was not displayed or while traveling.
The frame gives no indication of hinges,

3 See Jacques Dupont, Les primHifs fran^ais, 1350-1550 (Paris,
1937),pp. 4, 52,53,62.

334

Valley of the Loire, 1500-1510

VII 22 Triumph of Youth.

Tapestry, wool and silk, H. 131, W. 182 inches.

VII 23 Triumph of Eternity.

Tapestry, wool and silk, H. 129-1/2, W. 154-1 /2 inches.

VII 24 Triumph of Time.

Tapestry, wool and silk, H. 133-1/2, W. 173 inches.

VII 25 Triumph of Love (fragment). Tapestry, wool and silk, H. 107-1/2,
W. 35 inches. The Cleveland Museum of Art: Purchase from the
John L. Severance Fund (60.177), Gift of various donors by exchange (60.176).
Purchase, Leonard C, Hanna Jr. Bequest (60.178); and The Detroit Institute
of Arts, Ralph H. Booth Fund (35.6), respectively.

This series of three Tapestry Hangings plus a fragment of a
fourth are thought to have been ordered for the chateau of
Chaumont in the Loire Valley by Charles d’Amboise (d.
1511) 9 We know that they hung there in the nineteenth
century and until at least 1907, The chateau itself may be de¬
picted in the background of the tapestry entitled Youth. Two
addorsed and intertwined C s appear between the foremost
towers of this tapestry rendition of the chateau. This emblem*
combined with the flaming mountain {chaud mont) t may be
seen today in the actual, if restored chateau.

Dorothy Shepherd has put forward convincing arguments,
several newly formulated, for a Loire Valley origin of a whole
body of tapestries which have a 'close unity of style. 5 " Many
of these may have been "the work of itinerant weavers who
moved from chateau to chateau as they received commis¬
sions. 5 '- Two other examples of this local style are represented
in the exhibition—the tapestry with the Story of Saint Eloi
from Beaune* and the Concert lent from Paris (cat. nos,
vir-16, 26). Some of the other tapestries in the group cited
by Miss Shepherd were mentioned in discussion of the Saint
Eloi tapestry. By closely reasoned and detailed stylistic com¬
parisons of these works, several of which are dated or datable
on historical grounds* Miss Shepherd has reaffirmed a dating
within the first decade of the sixteenth century for the entire

1 For complete documentation and full discussion* see Dorothy G,
Shepherd* "Three Tapestries from Chaumont '; Remy G. Sais-
selin, "Literary Background of the Chaumont Tapestries”; Wil¬
liam D. Wixom, "Traditions in the Chaumont Tapestries*" cm A
Bulletin, XL viii (September 1961), 159-177* 178-181* 182-190,
respectively.

2 Shepherd, p. 165,

group. This has special significance for the Chaumont tap¬
estries, because this dating coincides with the period when
Charles d 5 Amboise was rebuilding the chateau between 1498
and 1511. The "Loire group” includes both several mille-
fleurs tapestries with secular subjects and two separate series
with lives of saints depicted against landscape and architec¬
tural backgrounds. With religious, allegorical and symbolic
meanings underlying their gay secular facades, the Chaumont
hangings combine elements of the mille-fieurs group as well
as the landscape groups* The Saint Filoi tapestry, here attrib¬
uted to the Loire group* is a reversal—a clearly religious tap¬
estry with a mille-fieurs background. While such exceptions
and interchanging of elements may seem to complicate the
picture* these tapestries all have many features in common in
their figure style, drawing* composition* and color*

Although the underlying significance of the Chaumont
tapestries may never be fully discovered, Miss Shepherd has
provided a basis for at least an initial understanding of their
meaning* The clue is that of Petrarch’s Trionfi, which stressed
"the impermanency of everything In this world and that only
eternity would triumph* 1 ' 3 The inscriptions as translated by
Remy G. Saisselin are both related to the contemporary lit¬
erary scene, especially that of the Rhetoriqueurs, and also are
examples of this theme of impermanency.

The Triumph of Eternity tapestry reads:

Nothing triumphs by right authority
Unless it be conducted by Eternity .

Nothing is permanent beneath the firmament,

But abo ve us triumphs Eternity,

3 Ibid., p, 171.

336

JriifUr bout t& qxir rtir air mutir tam¬

er tap tatnblf qiu T tmct tifav ox (a mam
mau rr triumph rft tans rtvtrattr * x*
irp (iTmplc tout bp tarn ♦

trt tft immw a In nutt au fern - X -
iFUuoi jsrcis ft lint rtrrr turtv •

> ###»

s i r ''' 9 C$&

The verse of the Time tapestry reads:

0//£ weather adorned in green

Sometimes as pleasing as an angel;

To suddenly change and be quite strange:

The weather never stays the same.

The Youth or Death tapestry reads:

Youth triumphs while its heart is healthy,

And tv hen it seems to hold all in its hand.

But this triumph is without eternity.

Here one sees the example full well:

Those who are happy hide death in their heart.
Let the young heed this warning.

The fragment Triumph of Love (but then Death) reads:

I strike all and everywhere

With fires and darts the chastest hearts.

But what matter the jousts and reversals
For in the end comes death to upset all.

All of this, as Miss Shepherd points out, is not a literal repre¬
sentation of the Petrarch Trionfi but a free interpretation.
Parts of a series of drawings, which also depart from the tra¬
ditional iconography following Petrarch, can be compared
with the tapestries. These drawings illustrate a sixteenth-
century French translation of the Petrarch text (Bibl. de
FArsenal, no. 5066). 4 They and two of the tapestries—the

4 Ibid., pp. 172-173.

Triumph of Eternity and the Triumph of Love—may reflect
a common iconographicaI source. The two remaining panels
are even more allegorical.

The earlier style of paintings by Jean Fouquet and Jean
Boardichon make these tapestries seem remarkably conserva¬
tive and quite medieval by comparison. The hangings seem
oblivious to Fouquet's treatment of continuous space and

distance, using solid figures and architecture consistently di¬
minishing in size in the distance. Instead the tapestries arc
composed by grouping decorative units of figures in vertical
parentheses on each side of a central figure. All of these
figures are composite color areas, and while not flat, are with¬
out weight or solid mass. Mostly, they exist large in scale
close up to the foreground. The background rises sharply to

PSWm!1n!5sBI?uHH!n?5^

I aunrocffoK Ktiffi ^faiTsff mif tnuj augr-
* ;inus ftnrf toutaui rtaujrr Ft f(Kf rtftanur-
ittrama (r traps m'tmiT rfiaf nrfmsr

about the middle of each panel, where clumps of trees and
foliage begin to function as screens and repoussoires to adja¬
cent but distant hills, rivers, and chateaux* This kind of
shallow space formula with its limiting screens and partial
glimpses of deep space beyond, recalls similar devices in ear¬
lier manuscript illustrations, such as those of Fouquets gen¬
eration where his Renaissance spatial experiments had not yet
been adopted (see cat. no. vn-5). The drapery style, in its
angular breaks and folds, recalls Flemish, not Italian, influ¬
ence in France, The Eros in the Detroit fragment in its treat¬

ment of the nude, does not depend on Mantegna’s conception
of the antique, but on an earlier Gothic model in the spirit of
Vi Hard de Honnecourf s conception of the antique. The Chau-
mont tapestries, as in many of the Loire tapestries, make no
use of Renaissance innovations in the depiction of space,
distance, mass, drapery, or the nude figure, even though the
sources for these experiments were available in the work of
prominent French artists of the preceding half century and
in prints from Italy which traveled widely. In relation to the
pictorial arts, the tapestries were behind the times—out of

touch with the moving force of new interests which received
their impetus from Italy.

Clues to an explanation of this pictorial conservatism may
be found in the traditions of court art of the previous century,
especially that of the so-called International Style of circa
1400. The decorative character; the picturesque detail in ani¬
mals, birds, and plants; the Madonna of Humility seated in
the Garden of Paradise; the Coronation of the Virgin; and a
continuing concept of courtly life taking place within a foliate
landscape, are all favored themes of the aristocracy which can
be traced by natural steps from this earlier era. The purposes
and limitations of wall decoration evident in the Loire tapes¬
tries were quite similar to those of the earlier tapestries,
manuscripts, and frescoes. These traditions, continuing in the
Chaumont series, find a parallel in the eclecticism of the verses
on them which also hark back to earlier forms. A time-
honored style, with some changes and adaptations, was main¬
tained. The status quo was not to be altered. However, the
crest wave of the Renaissance was already beating on the
shores of French style. It broke all barriers in French tapestry
designs under Francois i by the 1530’s, and tapestries lost
their appeal as colorful wall decorations in the manner of
earlier court art.

Valley of the Loire, VII 26 The Concert. Tapestry, wool and silk, H. 118-1/8, W. 143-3/8

early 16th century inches. Paris, Musee des Gobelins et Salles depositions.

Much of the commentary for the Eloi and Chaumont tapes¬
tries should be borne in mind in relation to this well-known
masterpiece produced in one of the ateliers des bords de la
Loire. It has much in common with the Chaumont series: the
stylized posturing of the figures, some diminutive persons
(not all children) in the foreground, the mille-fleurs back¬
ground, and several characteristics of drawing, color, and
composition.

We are told that another but inferior panel of a similar
subject in the Tapestry Museum at Angers, belonged with the
present one to the Rohan family, and that both were ordered
by Pierre de Rohan (died 1513) for his chateau du Verger,
near Angers. The Angers panel has an added strip with Pierre

de Rohan’s coat of arms. Dorothy Shepherd has related these
two hangings with a third showing angels bearing instru¬
ments of the Passion against a similar mille-fleurs back¬
ground. This work has the same coat of arms as those on the
strip added to the Angers panel. While the connection of the
two Concerts with Pierre de Rohan is still a little tenuous,
Miss Shepherd points out that Pierre de Rohan and Charles
d’Amboise, who is thought to have commissioned the Chau¬
mont series, were contemporaries, both living in the same re¬
gion, and each holding the title of Marechal de France under
Louis xif. It is certainly possible that they could have em¬
ployed the same weavers and cartoonists for their respective
tapestry projects.

342

1560

VII 27 Plan in Relief of the City of Soissons* Copper, cast, chiseled, silvered
and gilt, H. 13 , L. 29-1/2, W. 18 inches. Soissons (Aisne), Cathedral e
Saint-Gervaise-et-Saint-Protais.

Eight Gothic church structures of Soissons are rendered In
metal, shaped by various techniques and surrounded by the
city wall with fortified gates. Many Intricate forms of Gothic
architecture are clearly represented, The silhouette of this Re¬
lief Plan is evocative of a late Gothic town. However, this is
also the swan song of Gothic art, actually executed In 1560,
well into the Renaissance period. The metalworker betrays
his personal inclinations and the aesthetics of the later period
by using many Renaissance details and ornamental motifs,
such as the engaged columns at the fortified gates and the
successive terms, some female, with entablatures applied to
the city walls.

344

(

CATALOGUE

chapter I Merovingian Inheritance and Carolingian Experiment

1-1 page 12

Medallion with Bust of Christ. The Cleveland Museum of Art.
ex collection : Ducal House of Brunswick-Liineburg.
exhibitions: Hanover, Guelph Museum, 1861-1866. Vienna,
Osterreichisches Museum fur Kunst und Kunst Industrie, 1869.
Frankfurt-am-Main, Stadelsche Kunstinstitut, 1930. New York,
Goldschmidt Gallery, 1930: The Guelph Treasure, no. 2. The Cleve¬
land Museum of Art, 1931: The Guelph Treasure no. 2. The Cleve¬
land Museum of Art, 1936: Twentieth Anniversary Exhibition, no. 5.
Baltimore, The Walters Art Gallery, 1947: Early Christian and
Byzantine Art, no. 22 repr. Aix-la-Chapelle, Hotel de Ville, 1965:
Charlemagne, no. 215.

bibliography: Emile Molinier, LEmaillerie (Paris, 1891), pp.
92, 93; repr. p. 95. W. A. Neumann, Der Reliquienschatz des Hauses
Braunschweig-L/ineburg (Vienna, 1891), no. 78. Marc Rosenberg,
"Erster Zellenschmelz Nordlich der Alpen,” Jahrbuch der konigliche
prenssischen Kunstsammlunger, xxxix (1918), 17. Marc Rosenberg,
Geschichte der Goldschmiedekunst (1921), III, 77, fig. 3; iv, 6, fig. 13.
1 Wi\\yBurger,AbendldndischeScbmelzarbeiten (Berlin, 1930),xxxiii,
42 repr. Otto von Falke, Robert Schmidt, and Georg Swarzenski, The
Guelph Treasure (Frankfurt-am-Main, 1930), pp. 26-27, 100, no. 2,
pi. 5. William M. Milliken, "The Acquisition of Six Objects from the
Guelph Treasure...,” cma Bulletin, xvii (November 1930), 163,
175-176. Donald Bullough, The Age of Charlemagne (London,
1965), repr. p. 18.

1-2 page 14

Plaque with the Crucifixion and Scenes of the Last Supper, Betrayal
of Christ, Three Marys at the Tomb, Incredulity of Thomas, Ascen¬
sion of Christ, and the Pentecost. Narbonne (Aude), Tresor de la
cathedrale St. Just.

ex collections : M. de Stadien, Narbonne. Gift of M. de Stadien
to the Tresor de la cathedrale de Narbonne in 1850.
exhibitions: Carcasonne, Musee municipal, 1935: Exposition
de 1’art religieuse audois, no. 117. Paris, Musee des arts decoratifs,
1965: Les Tresors des eglises de France, no. 601, pi. XX. Aix-la-

Chapelle, Hotel de Ville, 1965: Charlemagne, no. 53, pi. 103.
bibliography: Grimouard de Saint-Laurent, "L’Iconographie
de la croix et du crucifix,” Annales archeologiques, xxvi (1869),
373; idem., xxvn (1870), 4 repr., 15-16, n. 1. Louis de Farcy,
"Quelque pieces du tresor de la cathedrale de Narbonne,” Revue de
lart chretien, lxii (1912), fig. 1, pp. 36-38. Adolph Goldschmidt,
Die Elfenbeinskulpturen aus der Zeit der karolingischen Kaiser (Ber¬
lin, 1914), vol. i, no. 31, pi. xv. Emile Male, LArt religieux du XII e
siecle en France (Paris, 1928), p. 81, n. 4. Louis Grodecki, Ivoires
franfais (Paris, 1947), p. 45. Raymond Rey, "L’lvoire de Narbonne,”
Bulletins de la Commission archeologique de Narbonne, XXII (1947-
1948), 79 fL Paul Thoby, Le Crucifix des origines au Concile de
Trente (Nantes, 1959), pi. XXII, no. 46, p. 49. Hermann Schnitzler,
"Les Ivoires de 1’ecole de la cour de Charlemagne,” Charlemagne
(Aix-la-Chapelle, 1965), pp. 307, 315, 316. Hermann Fillitz, "Die
Elfenbeinreliefs zur Zeit Kaiser Karls des Grossen,” Aachener Kunst-
bldtter , Heft 32 (1966), figs. 15, 16, p. 34. Tardy, Les Ivoires evolu¬
tion decorative du l er siecles a nos jours (Paris, 1966), p. 20 repr.

1-3 page 16

Apparition of Christ in Jerusalem. Boston, Museum of Fine Arts.
EX COLLECTION : Paul Gamier, Arras.

exhibitions: Arras, 1935: Exposition de Notre-Dame des
Ardents, no. 157, pi. 16.

bibliography: Hanns Swarzenski, "An Unknown Carolingian
Ivory,” Bulletin of the Museum of Fine Arts, Boston, L (1952),
1-7. John Beckwith, The Basilewsky Situla (London, 1963), p. 6.
fig. 4.

1-4 page 18

Psalter, in Latin. Troyes (Aube), Tresor de la Cathedrale.

EX collection: Chapel of the Counts of Champagne, founded
by Henry the Liberal (d. 1181).

exhibition: Paris, Bibliotheque Nationale, 1954: Les Manu-
scrits a peintures en France du VII e au XII e siecle, no. 42, pi. ix.

347

bibliography: Alfred Gaussen, Portefeuille atcheologique de la
Champagne (Bar-sur-Aube, 1861), pp. 40-42, pL 4 (color). Adolph
Goldschmidt, 'De Utrechtpsalter,” Repertorium fur Kunstwissen¬
se baft, xv (1892), 159 ff. Amedee C. L. Boinet, La Miniature
carolingienne (Paris, 1913), pL LXXVH. Albert Boeckler, Abendland-
ische Miniaturen (Berlin & Leipzig, 1930), p. 29. Johann Jacob Tik-
kanen, Studien fiber die Farbengebnng in der mittelalterlichen
Buchmalerei (Helsingfors, 1933), pp. 300-301, 313, 317, 337, 339^
Y. Leroquais, Les Psau tiers (Paris, 1937), voL ii, no, 454, pp r 250-

251; voh in, pi. xrv. Gertrude R. Benson, "New Light on the Origin
of the Utrecht Psalter, I, The Latin Tradition and the Reims Style
in the Utrecht Psalter/' Art Bulletin, xril (March 1931), 27, 41,
42, fig. 56. Dimitri Tselos, "A Greco-Itahan School of Illuminators
and Fresco Painters, Its Relation to the Principal Reims Manuscripts
and to the Greek Frescoes in Rome and Castelseprio,” Art Bulletin,
xxxvrn (March 1956), 12-13, no. 65, fig. 27. J. H. A. Engelbregt,
Het Utrechts Psalterinm (Utrecht, 1965), fig. 119.

chapter ii Proto-Romanesque, Assimilations, and Monumental Art

II-1 page 22

Four Gospels, m Latin. New York, The Pierpont Morgan Library.
ex collections: Chapter Library, Beauvais Cathedral. Library
of the Chateau de Troussures,

EXHIBITIONS: New York, New York Public Library, Pierpont
Morgan Library, Exhibition of Illuminated Manuscripts held at the
New York Public Library, 1933-34: no. 21, pL 21. Boston, Museum
of Fine Arts, Arts of the Middle Ages, 1940: no. 26. Paris,
Bibliotheque Nationale, Les manuscrits a peintures en France du VIP
au XII* siecle, 1954: no. 116.

BIBLIOGRAPHY: H. Omont, 'Rechetches sur la bibliotheque de
1’eglise cathedrale de Beauvais,” Me moires de PAcademie des in¬
scriptions et belles-lettres, xl (1914), 82-83. Albert Boeckler,
Abendldndische Miniaturen (Berlin, 1930), pp. 58, 96. S. De
Ricci and W. J. Wilson, Census of Medieval and Renaissance
Manuscripts in the United States and Canada (New York, 1937),
voL if, no. 333, p. 1428. Meyer Schapiro, "The Image of the Dis¬
appearing Christ,” Gazette des Beaux-Arts, XX in, Ser. 6 (March
1943), 143-144, fig. 7. Andre Boutemy, "Chromque/ 1 Scrip¬
torium, II (1948), 125, 163. Hanns Swarzenski, Monuments of
Romanesque Art (Chicago, 1954), p. 50, figs. 160, 162. Philippe
Yerdier, "Un monument inedit de Fart mosan du XII* siede, la
crucifixion symbolique de Walters Art Gallery,” Revue Beige, xxx
(1961), p. 142 n. 1, fig. 18. W. H. Bond and C. U. Faye (cd$.),
Supplement to the Census of Medieval and Renaissance Manu¬
scripts in the United States and Canada (New r York, 1962), p, 342.

II—2 page 26

Enthroned Elder of the Apocalypse. Saint Omer (PaS-de-Calais),
Musee Hotel Sandelin.

bibliography: Adolph Goldschmidt, Die Elfenbeinskulpturen
aus der Zeit der karolingischen und sachsischen Kaiser (Berlin,
1914), iv, no. 39, pi- xi.

II—3 page 26

Enthroned Elder of the Apocalypse. New York, The Metropolitan
Museum of Art.

EX collections: Georges Hoentschel, Paris. J. Pierpont Mor¬
gan, New York.

BIBLIOGRAPHY: Andre Per ate, Collection Georges Hoentschel
(Paris, 1911), no. 16, pL xiv, Adolph Goldschmidt, Die Elfenbein-
skulpturen aus der Zeit der karolingischen und sachsischen Kaiser
(Berlin, 1914), IV, no. 37, pi. xl Joseph Breck and Meyric R.
Rogers, The Metropolitan Museum of Art , The Pierpont Morgan
Wing , A Handbook (2nd ed.; New York, 1929), pp. 50-51 repr.

II—4 page 28

Engaged Capital. Poitiers (Vienne), Musee munidpaux,
exhibitions: Paris, Musee du Louvre, 1957-1958: Chefs
doeuvre romans des mu sees de Province, no. 46, pi. X. Barcelona,
Museo de bellas artes de Cataluna, 1962: El arte romanico, no. 363.
bibliography: P. Amedee Brouillet, Notice des oh jets compos-
ant les collection de la ville de Poitiers (Poitiers, 1884-1885), no.
877, Pierre Pradel, Sculptures romanes des mnsees de France (Paris,
1958), no. 41, Marc Sandoz, Catalogue d’art pre-roman et roman
du Musee des Beaux-Arts (Poitiers, 1959), p. 9, no. 8, pi. IL

II—5 page 30

Sacramentary, in Latin. New York, The Pierpont Morgan Library.
ex collections: Earl of Ashbumham. H, Yates Thompson
(sale, London, Sotheby, 1919, no. 1).

exhibitions: Philadelphia, Pennsylvania Museum of Art, 1931:
Art of the Middle Ages, p. 14, repr. opp. p. 23. New* York, New
York Public Library, 1934: Exhibition of Illuminated Manuscripts,
no. 22, fig. 3 and pi. 22. Boston, Museum of Fine Arts, 1940: Arts
of the Middle Ages, no, 27. Hartford, Wadsworth Atheneum, 1948:

348

The Life of Christ, no, 76. Baltimore, Walters Art Gallery, 1949:
Illuminated Books of the Middle Ages and Renaissance, no. 17, pi.
xir. Paris, Bibliotheque Nationale, 1954: Les manuscrits a pein-
tures en France du VIP au X1P siecle, no. 188,
BIBLIOGRAPHY: Lord Ashburnham Collection, Appendix, 1881,
p. 102, no. xliii. H. Yates Thompson, A Descriptive Catalogue of the
Second Series of Fifty Manuscripts in the Collection of H. Yates
Thompson (Cambridge, 1902), no, 69, pp. 126-130. H. Yates
Thompson, Illustrations of 100 Manuscripts in the Library of H,
Yates Thompson (London, 1907), vol, I, pJs. 1-3, no. 69. Charles
Rufus Morey, "The Illuminated Manuscripts of the J. Pierpont
Morgan Library,’ 1 The Arts , VII (1925), pp. 207-210, fig. 19. Albert
Roeckler, AbendLindische Miniature?! (Berlin, 1930), p, 60. A,
Strittmatter, "An Unknown 'Apology 1 in Morgan MS. 641,"
Traditio, IV (1946), 179. Hanns Swarzenski, Monuments of Roman¬
esque Art (Chicago, 1954), p. 51, fig. 174. Barbara Rumpf, A Man¬
uscript from Mont-Saint-Michel (New York University, M.A.
Dissertation, 1957). W. H. Bond and C. U + Faye, cds., Supplement
to the Census of Aiedieval and Renaissance Manuscripts in the United
States and Canada (New York, 1962), p. 351, M< 641.

II—6 page 32

Liturgical Comb. Verdun (Meuse), Musee de la Princerie.
ex collection: Cathedral of Verdun (1792—1857),
exhibition: Paris, Musee du Louvre, 1957-1958: Chefs
d'oeuvre romans des musees de Province, no. 111.
BIBLIOGRAPHY: Adolph Goldschmidt, Die Elfenbeinskulpturen
a us der Zeit der karolmgischen und sdchsischen Kaiser (Berlin,
1926), IV, 48-49, no. 176 (includes previous bibliography), pi.
LXin, fig. 176. Hubert Landais, ’ Chefs d oeuvres romans des
musees de province, objets d'art,” Di Revue des Arts, vir (Nov.-
Dee. 1957), p. 281, fig. 18. John Beckwith, "A Game of Draughts,"
Studien tur Geschtchte der Euro p disc hen Plasttk, Festschrift Theodor
A il'dler (Munich, 1965), p. 32, n. 13. Victor-Henry Debidour, H im
conographie et symbolisme religieux," His to ire generate des eglises
de France, ed. Andre Chastel (1966), p + 301 repr*

11-7 page 3 4

Miniature showing Saint Luke, from a Bible, in Latin. Montreal,
Mr. and Mrs. L. V. Randall.

BIBLIOGRAPHY; Meyer Schapiro, The Parma lhlefonsus, A
Romanesque Illuminated Manuscript from Cluny and Related
Works (New r York, 1961) (Alonographs of Archaeology and Fine
Arts, xi), p. 36, n. 125; p. 46, nn. 184, 185; p, 47, n, 195; p
48, n. 196; pp. 50, 61, fig. 50.

11-8 page 36

Christ in Majesty, Le Coudray-Saint-Germer (Oise), eglise.

exhibition: Paris, Musee des arts decoratifs, 1965: Les Tresors
des eglises de France, no. 89, pL 77.

bibliography: Archisse de Caumont, Abecedaire, vol. 1 1 :
Architecture rel/gieuse (Caen, 1886), pp. 499-500.

11-9 page 38

Bust of a Saint. Boston, Museum of Fine Arts,

ex collections: Paul Gamier, Paris. Joseph Brummer, New

York.

exhibitions: Arras, Notre-Da me des Ardents, 1935: Exposition,
no. 155, pi. 20. Boston, Museum of Fine Arts, 1940: Arts of the
Middle Ages, no. 231.

bibliography: Bulletin of the Museum of Fine Arts, Boston, lv
(Autumn-Winter 1957), p. 78, no. 29 repr, Marie-Madeleine
Gauthier, "Le Gout Plantagenet ct les arts mineurs dans la France
du Sud-Ouest/ ! Akten des 21 Internationalen Kongress fur
Kunstgeschichte (Bonn, Sept. 14-19, 1961) (unpublished). Marie-
Madeleine Gauthier, "Observations chronologiques sur les emaux
champleves meridionaux et limousins exposes parmi les tresors
des eglises de France," Les Alonuments historiques de la France
(1966), n. 6 (unpublished).

II—10 page 40

Psalter, in Latin. Amiens (Somme), Bibliotheque municipale.

EX collection: Comte Charles de i’Esealopier.
exhibitions: Paris, Bibliotheque Nationale, 1954: Les manuscrits
a peintares cn France du VIF au XIL siecle, no. 220. Barcelona,
Museo de bellas artes de Cataluha, 1961: El arte romanico, no. 70.
BIBLIOGRAPHY: V. Leroquais, Les psautiers (Paris, 1937), i, 16,
pis. xxiii-xxvm. jean Porcher, Aiedieval French Miniatures (New r
York, 1959), p 30, fig 32. Pierre d’Herbecourt and jean Porcher,
Anjou roman (Zodiaque, 1959), pp. 179-183, 245, repr. in color.

II—11 page 42

Gospels, in Latin. Amiens (Somme), Bibliotheque municipale.
exhibitions: Paris, Bibliotheque Nationale, 1954: Les manu¬
scrits a peintures en France du VIL au XII e siecle, no. 131. Barce¬
lona, Museo de bellas artes de Cataluna, 1961: El arte romanico,
no. 55.

bibliography: A. HaselolT, ’ Peintures, miniatures et vitraux de
Tepoque romane,” in Andre Michel, ed,, Hist air e de l art (Paris,
1905), 1 , 748, fig. 404. Max Hauttman, Die Kunst des frliken Altttcl¬
atters (vol. vi of Propylaen Kunstgeschicte) (Berlin, 1929)* p. 139,
pi. xli (in color). Hanns Swarzenski, Monuments of Romanesque
Art (Chicago, 1954), pi. 81, figs. 187, 188, 189. Jean Porcher,
Medieval French Miniatures (New' York, 1959), p. 30, pi. xxu.

349

chapter hi Monuments of Romanesque Art and the First Gothic Vision

III—1 page 46

Reliquary Chasse. Bellac (Haute-Vienne), eglise de Notre-Dame.
exhibitions: Limoges, Hotel de Villa, 1886: Lexposition dart
retrospect!f de Limoges. Paris, 1900: Exposition universelle retro¬
spective de Tart frangais. Paris, Palais National des Arts, 1937:
Chefs d'oeuvre de 1'art francais, no. 1187. Limoges, Musee municipal
de Limoges, 1918: Exposition emaux limousins, XII e , XIII e ,
XIV e siecles, no. 3, fig, 1. Barcelona, Museo de Cataluna, 1961: El
arte romanico, no. 425. Rome, Bibliotheque Apostolique Vaticane,
1963: Emaux de Limoges du Moyen-Age, no. 4. Paris, Musee des
arts decoratifs, 1965: Les Tresors des eglises de France, no. 336,
ph 52,

BIBLIOGRAPHY: Roy-Pierrefitte, Mistake de Bellac (1851), p, 119-
Leon Palustre and X, Barbier de Montault, Orfevrerie et emaillerie
limousines (Pads, n.d,), I re partie, pis. I, n. Abbe J, B. Texier,
Dictionnaire d* orfevrerie (Paris, 1857), col. 1258. E, Molimer,
' Tresor de Tabbaye de Grandmont et chasse de Bellac," Bulletin de
la Societe nationals des Antiquaires (1886), p. 230. E. Molinier,
''Lexposition d art retrospectif de Limoges/' Gazette des Beaux-
Arts, xxxiv, 2 e serie (1886), 172-174. Abbe Arbellot, ‘'Chasse
email le de l eglise de Bellac," Bulletin de la Societe archeologique
et historique du Limousin, xn, 2 e serie (1887), pp, 21-27. Louis
Guibert, "Orfevrerie limousine et les emaux d’orfevre a l exposition
retrospective de Limoges,” Bulletin de la Societe archeologique et
historique du Limousin, 2 e serie (1888), pp, 179, 208. Ernest Rupin,
UOeuvre de Limoges (Paris, 1890), pp, 62, 145, figs. 103-104,
107-108. Louis Guibert, "Les vieux emaux de Limoges a lex position
de 1900,” Bulletin de la Societe des Lettres, sciences et arts de la
Correze (1900), p. 13. Andre Demartial, "L'Orfevrerie emaillee de
Limoges/ 1 Congres archeologique . LXXXIV (1921), 431-434. W. L,
Hildburg, Medieval Spanish Enamels (London, 1936), pp, 57, 66, 77,
109- Jean Babelon, L*Orfevrerie francais (Paris, 1946), p, 38, pi. XXI,
Marie-Madeleine $. Gauthier, Emaux limousins c ham pieces des XI I c
d XIV e siecles (Paris, 1950), pp. 24, 27, 65, 68, pi. 4, Marie-Made¬
leine S, Gauthier, "Les Emaux champleves 'limousins' et d'oeuvre de
Limoges/ quelques problemes poses par lemaillerie champlev6 sur
cuivre en Europe meridionale, du XII L au XlV e siecle/' Cahiers de la
ceramique (Autumn 1957), no, 8, repr, opp, p. 146. Jean Maury,
Marie-Madeleine S. Gauthier, and Jean Porcher, Limousin roman
(Zodiaque, La nuit des temps 11, I960), repr. pp. 252 (no. 4), 265,
266, 267; discussed pp. 280, 284-286. Marie-Madeleine S, Gauthier,
"Observations chronologiques sur les emaux champleves meridionaux
et limousins exposes parmi les tresors des eglises de France/' Les
Monuments historiques de la France (1966), (unpublished).

III-2 page 48

End of a Reliquary Chasse with Saint Paul. Dijon (Cdte-d'Or),
Musee des Beaux-Arts.

ex collection: Trimolet.

bibliography: E. Gleize, Catalogue descriptif des oh jets d f art
formant le Musee Anselme et Edma Trimolet (Dijon, 1883), no,
1255. Marie-Madeleine S, Gauthier, "Les Emaux champleves
limousins’ et Toeuvre de Limoges/ " Cahiers de la ceramique, VIII
(Autumn 1957), repr, p. 155, fig. 10: "2* tiers du XII e siecle, atelier
catalan(?)/'

III—3 page 50

Sacramentary of the Cathedral of Saint-Ettenne, in Latin. Paris,
Bibliotheque Nationale.

exhibitions: Limoges, Musee municipal, 1950: L'Art roman a
Saint-Martial de Limoges, no. 40, repr., pis. xix-xxii Paris,
Bibliotheque Nationale, 1954: Les manuscrits a peintures en France
du VIP au XIB siecle, no, 326. Barcelona, Museo de bellas artes
de Cataluna, 1961: El arte romanico, no. 69.

bibliography: Emile Male, L* Art religieux du XII* siecle en
France (Paris, 1922), pp, 74 (fig, 6l), 75, 91, 93 (fig. 79), 124
(fig. 106), V. Leroquais, Les Sacramento ires et les Alissels (Paris,
1924), 1 , 213, pis. xxxin-xxxv, Ph Lauer, Les Enluminures romanes
des manuscrits de la Bibliotheque Nationals (Paris, 1927), pp. 110-
U6, pis. liii-lvii. Albert Boeckler, Abendldndische Miniaturen (Ber¬
lin, 1930), pp, 101, 122, pis. 101, 102. Jean Porcher, Le San amen taire
de Saint-Etienne de Limoges (Paris, 1953). Jean Porcher, Medieval
French Miniatures (New York, 1959), pp. 24—25, fig. 21 and pi, xiv.
Jean Maury, Marie-Madeleine S. Gauthier, and Jean Porcher, Limou¬
sin roman (Zodiaque, I960), pp, 239-240 (repr. in color).

111-4 page 54

Bas-relief: the Sign of the Lion and the Ram. Toulouse (Haute-
Garonne), Musee des Augustins,

datable in 1096. The stylistic and iconographical similarities suggest
that not only pilgrims moved along the roads between Toulouse and
Santiago, but also artists and perhaps members of their workshops.
The exchanges went both ways, although within this larger context
the relief of the Sign of the Lion and the Ram still has no qualitative
peer,

exhibitions: Paris, 1900: Exposition retrospective de Fart
francais des origins a 1800, no. 4622. Paris, Palais National des
Arts, 1937: Chefs d’oeuvre, no. 948. Toulouse, Musee des Augustins,
1954: Dix siecles d enlumineure et de sculpture en Languedoc, no. 99,
Paris, Musee du Louvre, 1964: Huit siecles de sculpture francaise,
chefs-d’oeuvre des Musees de France, no t 1.

bibliography: R. de Lasteyrie, U architecture religieuse en France
a I'epoque romane (Paris, 1912), p. 642, fig. 656. Richard Hamann-
MaeLean, Frtihe Kunst in westfrdnkischen Reich (Leipzig, 1939), no.

350

193. Joan Evans, Art in Medieval France (Oxford, 1948), p. 32. Paul
Mesple {Toulouse, Mu see des Augustins) Les Sculptures ro manes
(Paris, 1961), no. 206 (for all other previous bibliography). Marcel
Durliat, ' Languedoc et Sud-oeust,” UArt Roman en France t ed, Mar¬
cel Aubert (Paris, 1961), p. 221.

Ill—5 page 5 6

Double Capital u it h the Wise and Foolish Virgins. Toulouse (Haute-
Garonne), Musee des Augustins.

EXHIBITIONS: Paris, Palais National des Arts, 1937: Chefs-
d'oeuvre de Tart franca is, no. 953. Paris, Musee du Louvre, 1957-
1958: Chefs-d'oeuvre romans des musees de Province, no. 5.
bibliography: Emile Male, VArt religieux du XIl e siecle en
France (Paris, 1922), pp, 149, 180, 181, fig. 138. Joan Evans, Cluniac
Art of the Romanesque Period (Cambridge, 1950), p + 97, fig. 170.
Paul Mesple ( Toulouse t Musee des Augustins) Les Sculptures Ro¬
manes (Paris, 1961), no. 34 (for additional previous bibliography).

Ill—<5 page 58

Capital: Scenes from the Story of Samson. Cambridge (Massachu-
setts), Fogg Art Museum,

Ex collections: Garcin, Bernard d'Hendecourt, Paris, Paul J.
Sachs, 1920.

exhibitions; Paris, IHotel de Sagan, 1913: Exposition d’objets
d art du moyen-age et de la renaissance, pi. 1. Paris, Palais des Beaux-
Arts, 1937: Chefs d'oeuvres dart franca is, no. 95 5. Boston, Museum
of Fine Arts, 1940: Arts of the Middle Ages, no. 165, pi. xxn Andover
(Massachusetts), Addison Gallery, 1955. Cambridge (Massachu¬
setts), Fogg Art Museum, 1966: Works of Art from the Paul J. Sachs
Collection, no. 84 repr.

bibliography: L. H. Labande, "Leghses Notre-Dame-des-Doms
d'Avignon, des origincs au XIIB siecle,” Bulletin archeologique
(1906), pp. 282-365, pi, LXxvi, R, de Lasteyrie, JJarchitecture reli-
gieuse en France a I'epoque romane (Paris, 1912), p. 630, fig, 642.
A. Kingsley Porter, Romanesque Sculpture of the Pilgrimage Roads
(Boston, 1923), repr. nos. 1342-1343, A. Kingsley Porter, "The
Avignon Capital,” Fogg Art Museum Notes, i (January 1923),
2-10. Paul Deschamps, French Sculpture of the Romanesque Period
(New York, 1930), p, 84, pj. 85, R. de L. Brimo, 4 A Second Capital
from Notre-Dame-des-Doms at Avignon/' Bulletin of the Fogg Art
Museum, Harvard University, v (1935-1936), 9-11. Hans-Adalbert
von Stockhausen "Die romanischen Kreuzganze dec Provence, II.
Teii; Die Plastik/* Marhurger Jahrbuch fur Runstuissenschaft,
Vin-iX (1936), abb. 167, 168, and 169, 127-129. Richard Hamann-
Mac Lean Fruhe Kunst in Westfrankischen Reich (Leipzig, 1939),
p. 24, pis, 198-199^ Jean Verrier, Les arts primitifs f ran fa is (Paris,
1939), figs. 198, 199, Marcel Aubert, Description raisonnee des
sculptures Moyen-age (Paris, 1950), pp. 79, 80, 81. Fernand

Benoit, "Provence,” in L* Art roman en France, ed, Marcel Aubert
(Paris, 1961) , p. 423, repr.

Ill—7 page 60

Moralia in Job, by Saint Gregory, vol. l, in Latin. Dijon (Cote-d Or),
Bibliotheque municipale.

exhibitions: Paris, Musee des arts decoratifs, 1923: Le Jivre
francais, no. 17, London, Royal Academy, 1932: Exhibition of French
Art, 1933 cat, no, 938, pi. CCvin Paris, Bibliotheque Nationale, 1932:
no, 5, Dijon, Musee, 1953: St. Bernard et Tart des Cistercians, no, 47,
Paris, Bibliotheque Nationale, 1954: Exposition Manuscrits a pdn-
tures du VIP- au XII* siecles, no, 282, pi. XXVii,
bibliography: Amcdee C L. Boinet, '^exposition du livre fran-
cais au Pavilion de Marsan/' Gazette des Beaux-Arts, vii (1923),
256, Charles Oursel, "Les manuscrits a miniatures de la Bibho-
theque de Dijon/’ Bulletin de la Societe f ran false de reproductions
de manuscripts a pein lures, vn (1923), pp* 12-13, 19, pL iv, Charles
Oursel, Dt miniature du KID siecle a l r abba ye de Citeaux d’a pres les
mss. de la Bibliotheque de Dijon (Dijon, 1926), pp, 29-31, pis.
xxii-xxiv, Albert Boeckler, Abendlandische Miniaturen (Berlin,
1930, pp. 100, 122, pi. 100. P. Neveux and E. Dacier, Les richesses
des htblioiheques provincialss de France, 1 (1932), 156, pi. XLV.
Vera K, Ostoia, "A Statue from Saint Denis/' Metropolitan Museum
of Art Bulletin, xm (June 1955), 302 repr. Carl Nordenfalk and
Andre Grabar, Romanesque Painting (Lausanne, 1958), pp. 176,
203, 205, 206, Jean Porcher, Medieval French Alimatures (New
York, 1959), p 21, pi. XII. Charles Oursel, Miniatures cisterciennes,
1109-1134 (Macon, i960), pp. 11, 23, 27, pis. XXII, XXiri, xxiv,
John Beckwith, Early Medieval Art (London, 1964), p, 192, fig. 181.

Ill—8 page 62

Saint Peter. Providence (Rhode Island), Museum of Art, Rhode
Island School of Design,

gesting pleats. The proportions of the Saint Peter are somewhat
elongated; bis head is ovoid but sharply delineated by the curved edge
of the beard and the split curves of the hairline, brow, and moustache.
In the Saint Peter’s head we might surmise the lost image of the
larger and more magnificent head of Christ in the tympanum below.
The hard polished surface in the two fragments also suggest some¬
thing of the smoothness and finesse of the lost whole. (This fresh¬
ness and relative lack of weathering resulted from the protection of
the enormous ante-church or porch constructed in front of the abbey.)
Thus an understanding of the enure portal is made more vivid by the
first-hand appreciation of these parts.

Professor Conant noticed years ago that the dominant sculptor
working on the portal was already trying his hand in one of the
sanctuary capitals, an engaged one which tells the story of Eden and
the Fall of Man. The peculiarities of this sculptor continued in the
work of his helpers who produced the two exhibited fragments. One

351

of these peculiarities was the ovoid head with sloping brow, pointed
nose, small mouth, and sharply cut beard. Another peculiarity ren¬
dered three-quarter figures in high relief, almost in the round, yet
left the far arm and hand carved in low relief.

It is not possible here to elaborate on the enormous influence that
Cluny had on subsequent Romanesque churches and their sculptural
decoration. However, it should be mentioned that Cluny is reflected
in many ways in the Cathedral of Saint Lazare at Autun. The primary
sculptural decorations of this edifice, carved between 1125 and 1135,
have been shown to be the work of the sculptor who signed the tym¬
panum, Gislebertus. Denis Grivot and George Zarnecki have also
traced the hand of Gislebertus to specific reliefs at Vezelay, and they
have suggested that he might also have had a hand in some of the
work on the Cluny tympanum. Grivot and Zarnecki were tempted
to consider the sculptor of the heads of the elders in the fourth
archivolt at Cluny the same as the sculptor, Gislebertus, who did the
elders gathered at the left of the Christ of the Autun tympanum.
Since the sculptor of the Cluny 'elder heads” may have carved the
Saint Peter fragment in the exhibition, we can contemplate the pos¬
sibility that we are facing a youthful work of Gislebertus. There are
many points of comparison and contrast about which arguments
may long linger. Regardless of such speculations of exact authorship,
it is possible to observe an instructive stylistic evolution from the
treatment of the figure of Saint Peter on the Cluny portal datable circa
1109-1115 to the figure of Saint Peter on the tympanum of Autun
carved by Gislebertus circa 1130-1135. In this evolution the phys¬
iognomic types, the ovoid head with sloping brow, the pointed nose,
the small mouth, and the curve of the lower edge of the beard all
remain somewhat constant, while the pleats are elaborated in the
later work into a series of clustered parallel ridges and the figure takes
on a visionary elongation.

ex collections: M. Thiebault-Sisson. Durlacher Brothers, New
York.

bibliography: Raimond van Marie, "Twelfth Century French
Sculpture in America,” Art in America, x (December 1921), 3-16
repr. L. Earle Rowe, "A Piece of Romanesque Sculpture,” Bulletin of
the Rhode Island School of Design, xiv (July 1926), 30-32 repr.
Helen Kleinschmidt, "The Cluny St. Peter,” Studies, Museum of Art,
Rhode Island School of Design (Providence, Rhode Island, 1947), pp.
17-31, figs. 1, 3a, 5a. Joan Evans, Cluniac Art of the Romanesque
Period (Cambridge, 1950), p. 24.

111-9 page 62

Figure. Cluny (Soane-et-Loire), Musee Ochier.
exhibitions: Paris, Musee du Louvre, 1957-1958: Chefs-
d’oeuvre romans des musees de Province, no. 26. Paris, 1965: Saint
Jacques de Compostelle, no. 477.

bibliography: Helen Kleinschmidt, "The Cluny St. Peter,”
Studies, Museum of Art, Rhode Island School of Design (Provi¬
dence, Rhode Island, 1947), pp. 17-31, figs. 3c, 5c.

Ill—10 page 64

Voussoir Figure of a Censing Angel. New York, The Metropolitan
Museum of Art, The Cloisters Collection.

ex collections: Abbe Victor Terret, Autun. Joseph Brummer,
New York.

exhibition: Boston, Museum of Fine Arts, 1940: Arts of the
Middle Ages, no. 169.

bibliography: Victor Terret, Im Sculpture Bourguignonne,
Autun (Paris, 1925), II, 50, pi. xlviii. Denise Jalabert, "L’Eve de la
Cathedrale d’Autun.” Gazette des Beaux-Arts, 6 Per., Tome XXXV
(1949), 260-262, 265-266, 272, fig. 6. Margaret M. B. Freeman, "A
Romanesque Virgin from Autun,” Metropolitan Museum of Art
Bulletin, N.S. vm (December 1949), 116, repr. 115. Denis Grivot and
George Zarnecki, Gislebertus, sculptor of Autun (New York, 1961),
pp. 32, 146, 150-151, 158 (vii), 176.

Ill—11 page 66

Engaged Capital: The Feast of Belshazzar (Daniel 5:1-5). Vezelay
(Yonne), Musee lapidaire de l’eglise de la Madeleine.
bibliography: Charles Porre, L’Abbaye de Vezelay (Paris,
1909), p. 38. Victor Terret, La Sculpture bourguignonne aux XII e
et XIII e siecles. Cluny (Paris, 1914), pp. 65, 66. Marcel Aubert,
La Bourgogne, la sculpture (Paris, 1930), I, 16, pi. 36. J. Baltrusaitis,
La Stylistique ornamentale dans la sculpture romane (Paris, 1931),
p. 205, n. 1, fig. 601. Joan Evans, Cluniac Art of the Romanesque
Period (Cambridge, 1950), p. 76, fig. 130b. Francis Salet, La Made¬
leine de Vezelay (Melun, 1958), p. 198, pi. 46, no. 36.

Ill—12 page 68

Engaged Capital: Daniel in the Lions’ Den. The Cleveland Museum
of Art.

Green on the basis of a modern copy of the Cleveland Capital which
is installed in the great nave of the mostly mid-twelfth-century church
at Saint Aignan-sur-Cher (Loire-et-Cher). Plausibly a substitution
was made in modern times when this church was repaired and re¬
worked. The nave capitals have similar proportions and they are
either cut straight across the top edge or are notched. It has not been
possible to compare the measurements. However, the Daniel Capital
at Saint Aignan is not the only modern capital built into the church.
Difficulties arise in the correct identification using only photographs
or published illustrations. Many questions preclude absolute points of
comparison and put in doubt any certainty to this localization of the
Cleveland Capital. Nearly all of the presumably authentic capitals
bear such little detailed resemblance to the Cleveland Capital that it
would be necessary to conclude that mostly different sculptors were at
work. Furthermore, none of the published capitals at Saint Aignan,
except for the copy of the Cleveland Daniel Capital, have a rope twist
border at the lower edge. It is important to note that the Daniel Capi-

352

tal at Saint Aignan is not the only modern copy there of another
known original which can be traced to its source. The capital with the
Virgin and Child under a canopy supported by columns with a monk
at one side copies a capital at Saint Benoit-sur-Loire.

An alternative provenance can be considered at Bourges in the
Church of Montermoyen, now lost but which once served the convent
founded by Saint Eustadiole. The Romanesque church was begun in
1080; the capitals may be tentatively dated in the second quarter
of the following century- 3 At least three of these capitals are
preserved today in the lapidary collection at the House of Jacques
Coeur in Bourges and two more are in the Worcester Art Museum,
While it is impossible to consider here the entire group, there are
tw r o of these capitals which must have been carved in part by a
hand very close to that of the Cleveland Capital. One of these is a
capital preserved at Bourges, decorated with lions and fantastic heads
at the top. The other, at Worcester, show's lions and wdnged
monsters devouring human beings. The physiognomic characteristics
in the carving of the lions is especially similar as is also the treat¬
ment of the manes and paws.

There are, however* several serious problems which prevent any
certitude of a localization of the Cleveland Capital in the Church
of Montermoyen. First of all* the style of the figure of Daniel is a
great deal more subtle than the carving of any of the lions, whether
on the same capital or on the Bourges or Worcester capitals. Further¬
more its style suggests the traditions of Burgundy, particularly
Autun, No such figure appears in the preserved capitals from the
Church of Montermoyen,

The question of measurements does not clearly refute nor does
it substantiate the Bourges localization. There are slight differences.
Also, the Worcester and Bourges capitals have a notched upper
edge and a relatively smooth and rounded Iow r er edge. Since the
discrepancies within many Romanesque churches are numerous,
it is therefore difficult to determine at this time whether the
Cleveland Daniel Capital comes from Saint Aignan because of the
copy there, or whether it comes from the Church of Montermoyen
at Bourges because of a high sculptural quality, certain character¬
istics w'hfch it closely shares wdth capitals from that church.

Perhaps these matters are not complicated enough and therefore
tw r o additional puzzling and tantalizing notes should be added. Dr.
Green observed that Jurgis Baltrusaitis reproduced in his book.
La siylistique ornamentale dans la sculpture romane (Paris, 1931),
a drawing of the side of a Daniel capital, which contrary to the
caption, is not the Daniel capital on the tribune level at Saint
Semin of Toulouse, but a fairly accurate depiction of the Cleveland
Daniel Capital. The questions are how this confusion arose, and
w'hether the source of the photograph, w-hich w p as the basis of the
drawing, might be some day revealed. This confusion also suggests
the possibility that the copies at Saint Aignan may have been
made from photographs.

The mystery is further complicated by the fact that before 1923
the Cleveland Capital w r as owmed by the art dealer G. J, Demotte,

3 Louis Grodecki, "Le chapiteaux de Teglise de Montermoyen a Bourges/’
Mimoires Union Socieie sav. Bourges, m (1951-52), 13-29 Grodecki
dates the Bourges and Worcester capitals in the first quarter of the
twelfth century, a date which seems too early on stylistic grounds.

w'ho himself was the subject of much mystery. The history of the
two Worcester capitals from the church of Montermoyen is similarly
cloaked in uncertainty in the midT920 s, They were probably pur¬
chased by George Grey Barnard after the sale in 1925 of his first
collection to the Metropolitan Museum, 4

ex collections: G, J. Demotte (until 1923). The Minneapolis
Institute of Arts, Dr, Hoptiilter, Vienna,

BIBLIOGRAPHY : Bulletin of the Minneapolis Institute of Arts, xn
(April 1923), 27 and repr, on cover. Rosalie B. Green, Daniel in the
Lions' Den as an Example of Romanesque Typology (Ph,D. thesis,
University of Chicago, 1948), pp, 10-11, figs, 8, 81, 82. Additional
discussion for the cma Bulletin is in preparation.

4 Martin Weinberger, The George Grey Barnard Collection (New York,
]£Ml), nos. 14, 15, pis. IV, v.

III—13 page 70

Chalice of Abbot Suger of Saint-Denis, Washington, D C, National
Gallery of Art.

the Eleanor vase and the ew'er, w f e have no documentation which as¬
sociates it directly with Suger. Nevertheless, the Suger Chalice and
ewer, the Eleanor vase and the nef make a homogenous stylistic group.

The vicissitudes of time have not been entirely kind to these
splendid articles of the Abbey’s furnishings. It is a marvel that they
survived at all. In any case, certain changes in each piece can be
detected which do not seriously diminish the over-all impression,
but which must be noted because of the questions they would other-
w ise raise, Erubn Panofsky has pointed out that the Christ medallion
on the foot of the Chalice was once flanked by four other busts,
presumably the Four Evangelists, as showm in a drawing that w'as
made of the Chalice in 1633 at the behest of the antiquarian Peiresc.
Subsequently, perhaps in the eighteenth century, these busts were
replaced by medallions w'ith Eucharistic symbols (clusters of grapes
alternating wdth sheaves of grain). Similarly the several multi¬
faceted jewels replaced some of the medieval rounded cabochons, as
noted by Erw in O. Christensen,

The later history of the Chalice is filled with near-tragedy, intrigue,
mystery, and "discovery.” After the French Revolution and the partial
destruction of the treasures at Saint-Denis, the Chalice was placed
in the Bibliotheque Nationale. Stolen in 1804 together w r ith some
other items, some still lost, the Chalice was taken to England w'here
it was hidden from view r , presumably in the Towmeley collection, for
more than a century. Through the auspices of Jacob Goldschmidt
it w as bought for the Widener collection at Elkins Park, where it
was "discovered” and published in 1923 by Seymour de Ricci,
Joseph E. Widener presented it in 1940 w'ith the rest of the Widener
collection to the National Gallery of Art in Washington, where it
remains as one of Its principal treasures.

ex collections: Bibliotheque Nationale, Paris (1793-1804).
Towneley, England, Peter A. B. Widener and Joseph E. Widener,
Elkins Park, Pennsylvania,

bibliography: Suger, De Rebus in administratione sua gestis, ed.

353

Panofsky (see below), p. 79. M. Felibien, Histoire de I’Abbaye
Royale de Saint-Denys en France (Paris, 1706), p. 541, pi. iiir. Abbe
Texier, "Suger, abbe de Saint-Denis,” Dictionnaire d'orfevrerie de
gravure et de ciselure chretiennes in Encyclopedic theologique de
Migne (3rd ed.; Paris, 1857), vol. xxvii, col. 1365, col. 1474 repr.
Ch. Rohault de Fleury, La Messe, etudes archeologiques sur ses
monuments (Paris, 1883-1889), vol. iv, p. 123, pi. CCClx. J. Guibert,
Les Dess ins du Cabinet Peiresc an Cabinet des Estampes de la Bibli-
otheque Nationale (Paris, 1910), pp. 27 ff., pi. in. W. Martin Con¬
way, "The Abbey of Saint-Denis and its Ancient Treasures,” Archae-
ologia, lx vi (1915), pp. 143 f., pi. xvi, 1. Seymour de Ricci, "Un
Calice du Tresor de Saint-Denis,” Academie des Inscriptions et
Belles-Lettres, Comptes-Rendus (1923), pp. 335 ff. Marc Rosenberg,
"Ein Wiedergefundener Kelch,” Festschrift zum Sechszigsten Ge-
hurts tag von Paul Clemen (Bonn, 1926), pp. 209 ff., figs. 1, 2, 6, 7, 8.
Erwin Panofsky, Abbot Suger on the Abbey Church of St.-Denis and
its Art Treasures (Princeton, 1946), pp. 79, 205, pi. 24. Charles Sey¬
mour, Jr., Masterpieces of Sculpture from the National Gallery of
Art (Washington, D. C., 1949), pp. 10 f., p. 171, repr. (detail), p. 27.
Erwin O. Christensen, Objects of Medieval Art from the Widener
Collection (Washington, D.C., 1952), pp. 5-6, repr, pp. 4, 7. Joan
Evans, Life in Medieval France (New York, 1957), p. 233, pi. 26.
Rene Huyghe (ed.), Larousse Encyclopedia of Byzantine and Medie¬
val Art (London, 1963), repr. in color opp. p. 289, p. 300.

Ill—14 page 72

Head of an Old Testament King. Baltimore, The Walters Art Gal¬
lery.

ex COLLECTIONS: Kelekian, until 1911. Henry Walters.
bibliography: Bernard de Montfaucon, Les monument de la
Monarchic franfoise. .. (Paris, 1729), vol. I, p. 193, pi. xvil. (For
Montfaucon’s original drawing in the Bibliotheque Nationale in
Paris see A. Kingsley Porter, Romanesque Sculpture of the Pilgrimage
Roads [Boston, 1923], fig. 1456.) Marvin Chauncey Ross, "Monu¬
mental Sculpture from St.-Denis, and Identification of Fragments
from the Portal,” The Journal of the Walters Art Galley, ill (1940),
91-109. Marvin Chauncey Ross, "Two Heads from St.-Denis,” Mag¬
azine of Art, xxxiii (December 1940), 674-679. Charles Rufus
Morey, "Medieval Art in America,” Journal of the Warburg and
Courtauld Institutes, vn (1944), 2. Marcel Aubert, "Melanges, tetes
de statues-colonnes du portail occidental de Saint-Denis,” Bulletin
monumental, cm (1945), 243-248. Erwin Panofsky, Abbot Suger on
the Abbey Church of St.-Denis and its Art Treasures (Princeton,
1946), p. 165. Marcel Aubert and Michele Beaulieu, Description
raisonnee des sculptures, vol. i: Moyen-Age (Paris, 1950), p. 57: "les
trois fragments conserves aux Etats-Unis doivent etre dates de 1155
environ ...” Sumner McKnight Crosby, Labbaye royale de Saint-
Denis (Paris, 1953), pp. 7-8, pi. vm. Vera K. Ostoia, "A Statue from
Saint-Denis,” The Metropolitan Museum of Art Bulletin, xiii, n.s.
(June 1955), 303. Adolf Katzenellenbogen, The Sculptural Programs
of Chartres Cathedral (Baltimore, 1959), p. 43, fig. 43 (Montfaucon
engraving).

354

III—15 page 72

Column Figure of an Old Testament King. New York, The Metropol¬
itan Museum of Art.

ex collection: Marquis de Migieu (Chateau de Savigny-les-
Beaune, Burgundy?).

bibliography: Jacques Doublet, Histoire de labbaye de S. Denys
en France (Paris, 1625). Bernard de Montfaucon, Les monumens
de la Monarchic franfoise . .. (Paris, 1729), vol. I, pp. 57-58, pi. X.
Felicie de Ayzac, Histoire de l Abb aye de Saint-Denis (Paris, 1860-
1861), vol. i, Livre 5, pp. 485 flf., 551; vol. n, p. 215. Wilhelm Voge,
Die Anfdnge des monumentalen stiles im Mittelalter, eine Unter-
suchung fiber die erste Bliitezeit franzdsischer Plastik (Strassburg,
1894), pp. 197-199, 232, 286. Robert de Lasteyrie, "Etudes sur la
sculpture francaise au moyen-age,” Monuments et Memoires,
lAcademie des inscriptions et Belles-Lettres, Fondation Piot, vm
(1902), 29 ff., 33. Alan Priest, "The Masters of the West Facade of
Chartres,” Art Studies, I (1923), pp. 30 ff., fig. 9. William H. Forsyth,
A Brief Guide to the Medieval Collection, The Metropolitan Museum
of Art. (New York, 1947), repr. p. 8. Sumner McKnight Crosby,
Labbaye royale de Saint-Denis (Paris, 1953), p. 49. Vera K. Ostoia,
"A Statue from Saint-Denis,” The Metropolitan Museum of Art
Bulletin, XIII, n.s. (June 1955), 298-304. Louis Grodecki, "La ‘Pre¬
mier sculpture gothique,’ Wilhelm Voge et letat actuel des proble-
mes,” Bulletin monumental, cxvn (1959), p. 276, repr. p. 273. Jules
Formige, L Abb aye royale de Saint-Denis (Paris, I960), p. 19. The
Metropolitan Museum of Art, Guide to the Collections, Medieval Art
(New York, 1962), p. 27, fig. 41.

Ill—16 page 76

Head of Saint Benigne. Dijon (Cote-d’Or), Musee archeologique.
ex collection : Gossen (until 1874).

exhibitions: Dijon, Musee des Beaux-Arts, 1952: Musees de
Bourgogne, no. 71. Dijon, Musee des Beaux-Arts, 1957: Le Diocese
de Dijon, no. 141. York, Art Gallery, 1957: Art from Burgundy,
no. 7. Paris, Musee du Louvre, 1957-1958: Chefs-d’oeuvre romans
des musees de Province, no. 35. Paris, Musee du Louvre, 1962:
Cathedrales, no. 5.

bibliography: Dorn Urbain Plancher, Histoire generate et parti-
culiere de Bourgogne (Dijon, 1739), I, 502-503 repr. Catalogue
du Musee de la Commission des Antiquites du departement de la
Cote-d’Or (1894), no. 1135, pi. xvm. L. Chompton, Histoire de
leglise Saint-Benigne de Dijon (Dijon, 1900). A. Kingsley Porter,
"La Sculpture de XII e siecle au Bourgogne,” Gazette des Beaux-Arts,
5 Per., II (1920), 92. V. Flipo, La cathedrale de Dijon (Paris, 1928),
pp. 28-29, repr. Marcel Aubert, La Bourgogne, la sculpture (Paris,
1930), ill, pi. 138, no. 1. L. Schiirenberg, "Spatromanische und friih-
gotische Plastik in Dijon, und ihre Bedeutung fur die Sculpturen des
Straszburger Miinsterquerschiffes,” Jahrbnch der preussischen Kun-
stsammlungen, LViii (1937), pp. 16, 24, abb. 2. Charles Oursel, L’art
de Bourgogne (Paris, 1953), p. 68. Pierre Quarre, “La sculpture des
anciens portails de Saint-Benigne de Dijon,” Gazette des Beaux-Arts,

6 Per., L (October 1957), 178, 187, 188, 190, figs. 7, 12. Pierre Pradel,
Sculptures romanes des Musees de France (Paris, 1958), pi. 11.
Louis Grodecki, "La ‘Premier sculpture gothique' Wilhelm Voge et
l’etat actuel des problemes," Bulletin monumental, cxvm (1959),
280, repr. p. 275. Andre Lapeyre, Des facades occidentals de Saint-
Denis et de Chartres aux p or tails de La on (Paris, I960), pp. 103-
108, fig. 66. Willibald Sauerlander, "Twelfth-century sculpture at
Chalons-sur-Marne," Romanesque and Gothic Art, Studies in Western
Art (Princeton, 1963), i, 120, 121, pi. xxxix, fig. 9.

Ill—17 page 78

A Bishop. Bourges (Cher), Musee du Berry.
exhibitions: Tokyo, 1954-1955: L’art francais au Japan, no. 135.
Paris, Musee du Louvre, 1957-1958: Chefs-d’oeuvre romans des
Musees de Province, no. 75. Paris, Musee du Louvre, 1962: Cathe-
drales, no. 25.

BIBLIOGRAPHY: Memoires de la Societe des Antiquaires de
lOuest, xxvi (1961), 269-307. Eugene Lefevre-Pontalis, "Deux stat¬
ues du XII € siedes au Musee de Bourges," Bulletin monumental,
lxxvii (1913), 140-143 repr. Arthur Gardiner, Medieval Sculpture in
France (Cambridge, 1931), pp. 198-199, fig. 194. Rene Crozct, Hart
roman en Berry (Paris, 1932), pp. 320-321. Pierre Pradel, "Sculptures
(XII e ) ‘de leglise de Souvigny,' " Monuments Piot, XL (1944), 157,
n. 4. Pierre Pradel, Sculptures romanes des Musees de France (Paris,
1958), pi. 33. A. Lapeyre, Des facades occidentals de Saint-Denis
et de Chartres aux port ails de Laon (Paris, I960), p. 160.

Ill—18 page 80

Capital Fragment with Scenes from the Story of Daniel (?). Kansas
City (Missouri), William Rockhill Nelson Gallery of Art and Mary
Atkins Museum of Fine Arts.

bibliography: L. Merlet, "Histoire de l'abbaye de Coulombs,"
Memoires de la societe archeologique d } Fure-et-Loir, in (1863),
26. Robert Branner, “A Romanesque Capital from Coulombs,"
The Nelson Gallery and Atkins Museum Bulletin, 11 (January
I960), 1-6.

Ill—19 page 82

Fragment of a Crucifix. Angers (Maine-et-Loire), Musee Archeo¬
logique Saint Jean.

bibliography: Paul Thoby, Le Crucifix des origines au Concile
de Trente (Nantes, 1959), p. 105, fig. 9, pi. lxiv, no. 145.

Ill—20 page 84

Head (formerly called Ogier le Danois). Meaux (Seine-et-Marne),
Musee municipal.

exhibitions: Paris, Musee du Louvre, 1957-1958: Exposition
chefs-d’oeuvre romans des musees de Province, no. 81, pi. xi (2).
Barcelona, Museo de bellas artes de Cataluha, 1961: El arte romanico,
no. 361, pi. xxviii.

bibliography: G. Gassies, "Note sur une tete de statue trouvee
a Meaux,” Bulletin archeologique du Comite des travaux historiques
scientifiques (1905), pp. 40-42, pi. vi. Emile Male, L’art religieux
du XII e siecle en France (Paris, 1922), pp. 306-308. A. Endres in
La liberte (July 24, 1953). Pierre Pradel, Sculptures romanes des
Musees de France (Paris, 1958), no. 48.

Ill—21 page 86

Sacramentary, for use of Reims Cathedral. Baltimore, The Walters
Art Gallery.

ex collections: Louis le Caron, Chateau de Troussures, MS.
304 (sale, Paris, July 9, 1909, no. 14). Gruel and Engelmann, Paris.
Henry Walters (after ca. 1910).

bibliography: Henri Omant, "Recherches sur la bibliotheque
de l’eglise cathedrale de Beauvais,” Memoires de lacademie des
inscriptions et belles-lettres, XL (1916), 80. Idem, in Memoires de
ITnstitut nationale de France, XL (1926), 60 (no. 26), 89.
Charles Niver, "A Twelfth-century Sacramentary in the Walters
Collection," Speculum, x (1935), 333-337. Seymour de Ricci and
W. J. Wilson, Census of Medieval and Renaissance Manuscripts in
the United States and Canada, 1 (New York, 1935), 775, no. 113;
11 (New York, 1937), 2290. Percy Ernst Schramm, "Nachtriige
zu den ordines-Studien II—ill," Archiv fur Urkundenforschung, xvi
(1939), 282. Hanns Swarzenski, Art Bulletin, XXIV (1942), 295-
296. Dorothy Miner, The Bulletin of the Walters Art Gallery, ill
(November and December 1950 and March 1951), repr. Dom
Anselm Strittmatter, "The Pentecost Exultet of Reims and Besancon,"
Studies in Art and Literature for Belle da Costa Greene, ed. Dorothy
Miner (Princeton, 1954), pp. 384-400. W. H. Bond and C. V. Faye,
Supplement to the Census of Medieval and Renaissance Manuscripts
in the United States and Canada (New York, 1962), nos. 565-566.

Ill—22 page 88

Mourning Virgin from a Crucifixion Group. Boston, Museum of
Fine Arts.

ex collections: Alphonse Kahn, Paris. Joseph Brummer, New
York.

exhibition: Boston, Museum of Fine Arts, 1940: Arts of the
Middle Ages, no. 265.

bibliography: Bulletin of the Museum of Fine Arts, Boston, lv
(1957), 84, no. 36 repr.

355

Ill—23 page 90

Column Figure, Cambrai (Nord), Musee municipal
exhibitions; Paris, Musee du Louvre, 1957-1958; Chefs-
d'oeuvre romans des Musees de Province, no, 97. Barcelona,
Museo de Cataluna, 1961; El arte tOmanicQ, no. 360, Paris, Musee
du Louvre, 1962: Cathedrales, no. 20.

bibliography: Henri Coulon, "L'Hopital Saint-Jacques-au-Bois
de Cambrai,” MS moires de let Societe d*emulation de Cambrai , lii
(1898), 17—20, pi, 5, fig, 2. Jacques Vanuxem, "La Sculpture du XII*
siecle a Cambrai et a Arras/’ Bulletin monumental , cxm (1955),
16-19, fig, 10. Pierre Pradel, Sculptures romanes des Musees de France
(Paris, 1958), pi, 61. Andre Lapeyre, Des fa fades occidentals de
Saint-Denis et de Chartres aux portails de Laon (Paris, 1960), pp.
224-225.

III-24 page 92

Single Leaf from a Decretum, by Gratia nus. The Cleveland Museum
of Art.

ex collection: Dr. Vladimir G. Simkhovitch, New York.
bibliography: cma Bulletin, XLV (March 1958 ), 54 repr

111-25 page 94

Head of King David. New York, The Metropolitan Museum of
Art,

ex collection: Lucien Demotte, New York,
exhibition: New York, The Metropolitan Museum of Art, 1940:
Heads in Sculpture, repr.

bibliography: Lucien Demotte, Sculpture Portraits (New York,
1930), cat no, 9, pi. 9. James J, Rorimer, "A Twelfth-century
Head of King David from Notre-Dame,” Bulletin of the Metropolitan
Museum of Art, XXXV (January 1940), 17-19* figs. 1, 2, Marvin
Chauncey Ross, "Monumental Sculpture from Saint-Denis/' Journal
of the Walters Art Gallery, hi (1940), 106. James J. Rorimer,
"Forgeries of Medieval Stone Sculptures,” Gazette des Beaux-Arts,
xxvr, 6 e serie (July—December 1944), 203-204, fig. 10. Marcel
Aubert, "Melanges, tetes de statu es-colonnes du portail occidental
de Saint-Denis,” Bulletin monumental , cm (1945), 247, n, 2. James
J, Rorimer and W. H, Forsyth, "The Medieval Galleries/' The
Metropolitan Museum of Art Bulletin, xii, n.s, (February, 1954),
128, repr, 130, Willibald Sauerlander, "Die Marienkrdnurigsportale
von Senlis und Mantes,” Wallraf-Richartz-Jahrbuch, xx (1958), p.
126, abb. 70. Louis Grodecki, ”La 'Premier sculpture gothique/
Wilhelm Voge et l etat actuel des problemes,” Bulletin monumental,
cxvil (1959), 279, 282, repr. 279.

III-26 page 96

Two Semi-Circular Plaques * Troyes (Aube), Tresor de la cathedral
de SS. Pierre et Paul.

exhibitions: Paris, Musee de 1'Orangerie, 1959: L'Art en Cham¬
pagne au moyen-age, no. 93, pL xvil Barcelona, Museo de Cataluha,
1961: El arte romanico, no. 429, pi. xxxvi. Cologne, 1963: Monu-
menta Judaica, nos. 24A^15A. Paris, Musee des arts decoratifs, 1965:
Les Tresors des eglises de France, no, 173, pi. 76,

BIBLIOGRAPHY: Didron, "Symbolisme chretien, les quatre ele-
ments,” Annales archeologique, XVIII (1858), 232-244. Alfred
Gaussen, Portefeuille archeologique de la Champagne (Bar-sur-
Aube, 1861), Chapitre 11 , "Emaux,” p. 3, pi. 19 [Elie plaque only].
E. LeBrumDalbanne, Recherches sur le symbolisme et Fhistoire de
quelqnes emaux du Tresor de Troyes (Troyes, 1862), p. 17, pi. IV,
Wilhelm Molsdord, Christliche Symbolik du mittelalterlichen Kunst
(Leipzig, 1926), pp. 13, 14, 60, 67, Louis Reau, LTconographie de
Fart chretien (Paris, 1956), vol if, Part 1, pp. 351, 352. M. Escha-
passe, "Le Tresor de la Cathedrale de Troyes,” Les Monuments his-
toriques de la France, I, Nouv. Serie H (1956), p. 36, repr. Louis
Grodecki, "Les Vitaux de Chalons-sur-Mame et Fart Mosan/' Actes
du XIX e Congres international d'histoire de Fart (Paris, 1958), pp.
165-167. Mireille Jottrand, "Les emaux du Tresor de la Cathedrale
de Troyes decoraient-ils les tombeaux des comtes de Champagne?,”
Gazette des Beaux-Arts, 6 Per,, lxv (May-June 1965), pp. 258-264.

Ill—27 page 98

Columnar Figure of an Apostle , The Cleveland Museum of Art.
burnished, as in metal work, in contrast to its column, which w as left
with a rougher surface. This polished surface is clearly evident on
portions of the head, the halo, and the upper part of the robe.

In an earlier article, Sauerlander found a certain reflection of
Mosan art in the left portal as well as the Coronation of the Virgin
portal at Mantes. e The comparisons cited included a portrait of a
physician in a manuscript now in the British Museum (MS. Harley
1585, fol. 13), an ivory book cover on the Gospels of Afflighem
(Paris, Bibliotheque de V Arsenal, MS. 1184), chandelier plates at
Aachen, and the Bible of Florefife, These wmrks have been dated by
Hanns Swarzenski circa 1160, circa 1170, circa 1165, and circa 1155
respectively. 7 Many more comparisons might present themselves, if
needed, to underscore the validity of Sauerlander s thesis that many
features at Mantes owe a debt to the arts of northeast France and
the valley of the Meuse, The points of comparison include the con¬
verging V folds, the treatment of the head and hair, the modeling
of form, and proportion. Many Mosan wmrks come to mind from the
Stavelot Bible of 1097, the font of Renier of Huy of 1107-1118, and
enamels such as the small enameled base for the cross of SainpBertin,
circa 1170, which imperfectly reflects the lost Great Cross with a

6 Willibald Sauerlander, ' Die Marienkronungsportale von Senlis und
Mantes,” Wallraf-Richartz-Jahrbuch, XX (1958), l4l fL
1 Hanns Swarzenski, Monuments of Romanesque Art (Chicago, 1954),
nos. 483, 390, 427, 389 respectively.

356

jeweled and enameled base erected for Abbot Suger at Saint-Denis. 8

All of the Mosan and northeast French features which Sauer-
lander observed at Mantes can also be seen in the second series of
sculptures at Chalons. This is not surprising, as Louis Grodecki has
already documented Mosan inroads in stained glass at Chalons. 3
Furthermore, at least one other parallel can be cited in Champagne
in the enamel half medallions at Troyes (see cat. no. in-26). These
observations leave us with an apparent enigma—the very same formal
apparatus cited as coming from Saint-Denis 'Porte des Valois” and
influencing Mantes, Senlis, Sens, and Chalons also has been observed
as emanating from northeast France and the valley of the Meuse
to Mantes and also now to Chalons. One way out would be to admit
a Northern influence at Saint-Denis' 1 Porte des Valois,” possibly as
a result of the presence of the Mosan work commissioned by Suger—
the base for the Great Cross, Taking together the development of the
liberation of volume and the linear treatment of drapery in the
northern areas in the so-called minor arts, not only in Mosan works
but also in such northeast French works as the Missal of Maroilles
produced at either Saint Amand or Arras, circa 1160 (Paris, Biblio-
theque Mazarine, MS. 341), we can observe a common tendency
which might well have been drawn upon by several of the ateliers
of the Ile-de-France as well as those working in Champagne during
the second half of the twelfth century,
ex collection ; Luden Demotte.

bibliography: William M. Milhken, "French Gothic Sculpture
in the Museum,” CM a Bulletin, vi (January-February 1919)* 7,
9-10. Willibald Sauer lander, "Eine Saulenfigur aus Chalons-sur-
Marne im Museum in Cleveland (Ohio),” Pantbeon t XKl (May-June
1963), 143-148, figs. 3, 4, 6, 7. Harry Bober, "Medieval Art at
Cleveland,” Apollo, Lxvm, no. 22 (December 1963), 448-450 repr,
Leon Pressouyre, "Fouilles du do it re de Notre-Da me-en-Vaux de
ChaJons-sur-Marne," Bulletin de la Societe national des Antiquaires
(1964), p. 26n, 3,

8 See Rosalie B. Green "Ex Unque Leonem," De Artibus Opuscula XL,
Essays in Honor of Erwin Pan of sky (New York, I96l), pp. 157-169,
pis. 54-57.

9 Louis Grodecki, "Les vitreaux de Chafons-sur-Marne et I'art Mosan,"
Acres du XIX Congres International d* Histone de TArt (1958).

HI-28 page 100

Processional Cross. SaintJulien-aux-Boix (Corrcze), Chapel of Saint

Pierre-es-Liens.

ex collection: Pemeres.

exhibition: Paris, Petit Palais, 1900: Exposition universelle
retrospective de 1'art francais.

bibliography: Rene Fage, "La croix processionelle de Saint-
Julien-aux-Boix (Correze),” Ac ade mi e des Inscriptions et Belles
Lettres, Co nipt es Rendus (1926), pp. 296-304. Le Correzien (Tulle,
January 4, 1927). Victor Forot letter, Le Correzien (Tulle, January
6, 1927). F. Deshoulieres, "Chronique,” Bulletin monumental
(1927), p. 172. Paul Thoby, Le Crucifix des origins an Candle de
Trente (Nantes, 1959), p- 105, pi. lxiv, no. 146.

111-29 page 102

Head from a Columnar Figure . Limoges (Haute-Vienne), Musee
municipal.

exhibitions: Tokyo, 1954-1955: L’art francais au Japon, no.
105. Paris, Musec du Louvre, 1957-1958: Chefs-d'oeuvre romans
des Musees de Province, no. 72, pi. XI ( 1 ).

bibliography: Paul Ducourtieux, "Musee Adrien Dubouche,"
Congres archeologtque de France, lxxxiv, Limoges, 1921 (1923)*
63 repr. Guide du Alusee municipal de Limoges, ed. 1955, p. 34,
no. 2, pi. vm; ed. 1958, no. 5, pi. VUL Pierre Pradel, Sculptures
romanes des Af usees de France (Paris, 1958), no. 26, pi. 37.

111-30 page 104

Plaque: Hugo Lacerta and Etienne de Muret , Paris, Musee National
des Thermes et de THotel de Cluny.

exhibition: Rome, Bibliotheque Apostolique Vaticane, 1963:
Emaux de Limoges du Mayen-Age, no. 12.

bibliography: Edmond du Sommerard, Catalogue, Musee des
Thermes et de lHotel de Cluny (Paris, 1883), no. 4493. Marie-
Madeleine S. Gauthier, Emaux limousins champleves des XIP a
XIV e siecles (Paris, 1950), pp. 12, 13, 28, 68, pi. 3 (detail), Gene¬
vieve F. Souchal, "Les Emaux de Grand mont au XH e siecle,” Bulletin
monumental , Cxx (October-December 1962), 339-357, figs. 2, 4;
cxxi (January-March 1963), 41-64, 123-150, 219-235, 307-329;
CXXII (1964), 7—35, 129-159, passim. Marie-Madeleine S. Gauthier,
"Emaillerie champleve meridionale, maitres et ateliers, note sur les
met bodes de recherce,” Bulletin de la Societe Archeologtque et
His to ire du Limousin, XCI (1964), 66-67.

Ill—31 page 105

Cross. The Cleveland Museum of Art.

ex collections : B. Meyers. Spitzer, Paris (sale, Paul Chevalfier,
Paris, April 17-June 16, 1893, no. 228). Arnold Seligman, Rey and
Co.

EXHIBITIONS: The Cleveland Museum of Art, 1936: The
Twentieth Anniversary Exhibition, no. 13. New r York, Museum of
Contemporary Crafts, 1959: Enamels, no. 8, Seattle, World’s Fair,
1962: Masterpieces of Art, no. 8 repr.

BIBLIOGRAPHY: Charles de Linas, "Les Crucifix champleves poly¬
chromes, en plate peinture, et les croix emaillees,” Revue de Part
chretien, 4 e livraison (1885). Charles de Linas, "L'Emaillerie
limousine,” Bulletin de la Societe d’Art et d'Histoire du Diocese de
Liege . Edouard Gamier, Histone de la Verrede et de Vemaillerie
(Tours, 1886), pp. 405, 407, fig, 80. Leon Pa lustre, 'Orfcvrerie
religicuse,” La Collection Spitzer (Paris, 1890), i, 102, no. 17, pi. vi
(in color). Ernst Rupin, LOeuvre de Limoges (Paris, 1890), pp. 278-
280, fig. 337. William M. Milliken, cm a Bulletin XI (February 1924),
30-33, repr. 36-37; xui (April 1926), repr. 74. William M. Milliken,

357

Connoisseur , Lxxvr (October 1926), 67, repr. 117. Marie-Madeleine
S, Gauthier, Emaux Limousins champleves des Xll e d XIV c siecles
(Paris, 1950), p. 30. Paul Thoby, Les croix limousines (Paris, 1953),
pp. 13-14, 15, 23-24, 44, 59, 97-98, no. 14, pi. X. Paul Thoby, Le
crucifix, des origines an Concile de Trente (Nantes, 1959), pp, 104,
250, no. 142, pi. LXI1I. Genevieve Francois Souchal, "'Les emaux de
Grandmont au XII G siccle," Bulletin monumental cxxn (1964), 22,
28, Philippe Yerdier, "Limoges Enamels from the Order of Grand¬
mont," Bulletin of the Walters Art Gallery, xvn (May 1965).

111-32 page 108

Reliquary Chdsse of Saint Stephen, Gueret (Greuse), Musee archeo-
logique.

impact on the Malval Chasse from Mosan art and its areas of in¬
fluence because of the existence nearby of the Limoges Sacramentary
of the Cathedral of Saint Etienne since circa 1100, However, we can
say that in this case and contrary to common American assumptions,
this Limoges enamel was hardly retarditaire, but was close to the
crest wave of stylistic developments which dominated the Lorraine,
Champagne, and in specific instances, the Ile-de-France,
EXHIBITIONS: Limoges, Musee, 1948: Emaux limousins,
no. 16. Barcelona, Museo de Cataluha, 1961: El arte romanico, no.
431, pL xxxvi, Paris, Notre-Dame, 1963: Notre-Dame de Paris,
Exposition du Huideme Centenaire, no, 9, Rome, Bibliotheque
Apostolique Vatlcane, 1963: Emaux de Limoges, no. 22, pi, xi*
BIBLIOGRAPHY: August Bosvieux, "Reliquaires de I eglise de
Malval/ 1 Revue arckeologique t xvi (1859), 129^133. E. G., "Lettre
au sujet d'une chasse emaillee," Revue arckeologique, xvi (1859),
312-313. Ernest Rupin, Id Oeuvre de Limoges (Paris, 1890), p* 426.
J. J, Marquet de Vasselot, "Les emaux limousins a fond vermieule,"
Revue arckeologique, vr (1905), 244-245, pi. XVI. Congres arc he -
ologique, Limoges, 1921 (1923), p. 127. Marie-Madeleine S. Gauthi¬
er, Emaux limousins champleves des XII C d XlV e siecles (Paris,
1950), pp. 31, 61, 66, 68, pi. X, Guide du Visiteur, Musee de Gueret
(Gueret, 1956), p. 29, no, 4 repr. Jean Maury, Marie-Madeleine S,
Gauthier and Jean Porcher, Limousin roman (Zodiaque, La nuit des
Temps II, I960), pp- 281, 287, repr. in color on p, 274, Marie-
Madeleine S. Gauthier, "Une chasse limousine du dernier quart du
XII* siecle, Themes iconographiques, composition, essai de chronol-
ogie," Melanges en Phonneur de Rene Crozet (Poitiers, 1966) (to
be published).

III-33 page 110

Reliquary Monstrance, Saint-Sulpice-les-Feuilles (Haute Vienne),
eglise,

INVENTORIES OF GRANDMONT: 1495, no. 51; 1515, no. 51;
1566, no. 29; 1575, no. 48; l6ll, no. 45; 1639, no mention; 1666,
no. xlvil

exhibitions: Limoges, 1886: Exposition scientihque ct artistique,
358

no, 3^ Paris, Palais National des Arts, 1937: Chefs d'oeuvre de Tart
francais, no. 1195. Limoges, Musee municipal de Limoges, 1948: Ex¬
position emaux limousins, XII*, XIII*, XIY e siecles, no, 11, pi. 3,
Eg, 33. Paris, Musee des arts decoratifs, 1965: Les Tresors des
eglises de France, no. 374, pi. 70.

bibliography: Maurice Ardant, Email!ears et emaillerie de
Limoges (Isle, 1855), p. 68, no, 47, Abbe Texier, "Les ostensoirs en
Limousin," Annales archeologiques, xv (1855), frontispiece opp, p.
285, mentioned p. 293: Abbe Texier, Dictionnaire de l’orfevrerie et
de ciselure chretiennes (Paris, 1857), cols. 128, 868, 901. Adolphe-
Napoleon Didron, "Bronzes et orfevrerie du Moyen-Age/ 1 Annales
archeologiques, XJX (1859), p. 4l, fig. 32, Charles de Linas, M La
chasse de Gimel," Bulletin de la Sodete scientipque histoire et arc he -
ologique de la Correze, v (1883), 173- Leon Palustre and Barbier
de Montault, Orfevrerie et emaillerie limousines, pieces exposee d
Limoges en 1886, Melanges dart et d f archeologte, I re par tie (Paris,
n.tL), pi. vil Louis Guibert, "L 1 orfevrerie limousine et les emaux
d'orfevrc a Imposition retrospective de Limoges,” Bulletin de la
Socieie arckeologique et historique du Limousin, XIII, 2 e serie (1888),
217. Louis Guibert, Uecole monasttque d* orfevrerie de Grand -
mont et l*ante! majeur de P eglise ahbatiale (Limoges, 1888), pp, 42,
50. Ernest Rupin, IJOeuvre de Limoges (Paris, 1890), pp. 477, 478,
fig, 527, Henry Havard, Histoire de Vorfevrerie franfaise (Paris,
1896), p. 100 repr. Andre Demartial, "L’Grfevrerie emaillee de
Limoges,” Congres arckeologique, lxxxiv (1921), fig. p. 435. Jean
Maury, Marie-Madeleine $, Gauthier, and Jean Porcher, Limousin
roman (Zodiaque, La nuit des temps 11, I960), pp. 288, 289, repr.
pp. 259, 260, 261, figs. 10, 11, 12. Marie-Madeleine Gauthier,
"Observations chronologiques sur les emaux champleves meridion-
aux et limousins exposes parmi les Tresors des eglises de France,"
Les Monuments histonques de la France (1966), n. 8 (in prepara¬
tion ).

111-34 page 112

Angel of the Annunciation , Toulouse (Haute-Garonne), Musee des
Augustins.

exhibition: Paris, Musee du Louvre, 1962: Cathedrales, no, 31
repr,

bibliography: Joan Bcrgos, Uescultura a la Sen Vella de
Lleida (Barcelona, 1935), pp. 16, 146, 147, n, 1L Paul Mesple, Les
sculptures romanes } Toulouse, Musee des Augustins (Paris, 1961),
no* 248 (gives other previous literature).

Ill—35 page 114

Eucharistic Coffret . Limoges (Haute-Vienne), Mus6e de Limoges.
ex collections: Bardonnaud, Limoges, Societes royale d'agri-
culture de Limoges, 1846. Musee national Adrien-Dubouche. Musee
municipal since 1951.

exhibitions: Limoges, Musee, 1 886: Exposition, Sciences et arts.

Catalogue orfevrerie, no. 22. Paris, Petit Palais, 1900: Exposition
universelle, no. 2590, repr. p. 92. Paris, Musee nationaux, 1937:
Exposition universelle, no. 1208. Limoges, Musee, 1948: Emaux
limousins, no. 64, pi. vii, fig. 38. Rome, Bibliotheque Apostolique
Vaticane, 1963: Emaux de Limoges du Moyen-Agc, no. 52.
bibliography: Leon Palustre and Barbier de Montault,
"Orfevrerie et emaillerie limousins, pieces exposees a Limoges en
1886," Melanges d’art et d'archeologie (Paris, n.d.), pi. x. Musee
national Adrien-Dubouche de Limoges, Les emaux (Limoges, 1905),
pp. 6-7. J. J. Marquet de Vasselot, "L'orfevrerie et emaillerie
aux XIII e et XI V e siecles," His to/re de l art (Paris, 1906), II,
2 e partie, p. 947 repr. Marie-Madeleine S. Gauthier, "Dossiers:
Coffret eucharistique provenant du tresor de Tabbaye de Grandmont,”
^Information d’Histoire de l’Art, ix (March-April 1964), 81-83,
repr. (see for all other previous bibliography).

111-36 page 116

Plaque from a Chdsse showing the Crucifixion and the Martydom
of Saint Thomas Becket near the altar at Canterbury Cathedral,
December 29, 1170. The Cleveland Museum of Art.
ex collections: Tolin. M. G. Chalandon, Lyons. Adolph Loewi,
Los Angeles.

exhibition: Montreal, Museum of Fine Arts, 1965: Images of
the Saints, no. 4.

bibliography: Gaston Migeon, "La collection de M. G.
Chalandon," Les Arts, iv (June 1905), 28, repr. 19, no. 3. William
M. Milliken, "A Champleve Enamel Plaque," cma Bulletin, xxxrx
(January 1952), 7-8, 13, 9 repr. Charles P. Parkhurst, "Preliminary
Notes on Three Early Limoges Enamels at Oberlin," Allen Memorial
Art Museum Bulletin, IX (Spring 1952), p. 101, no. 5; p. 101, n. 10
(continued), no. 5; p. 104, n. 15.

Ill—37 page 118

Bearded Head of a Prophet (Moses?). Mantes (Seine-et-Oise),
Depot de la Collegiale Notre-Dame de Mantes.
exhibitions: Paris, Musees nationaux, 1937: Exposition inter¬

nationale, no. 961. Paris, Musee du Louvre, 1962: Cathedrales, no.
35 repr.

bibliography: Andre Rhein, Notre-Dame de Mantes (Paris,
Petites Monographies, 1932), pp. 48-59. Marcel Aubert, "Tetes
gothiques de Senlis et de Mantes," Bulletin monumental, xcvn
(1938), 8-9, repr. Jean Bony, "La Collegiale de Mantes, les circon-
stances historiques," Congres archeologique, civ (1946), 201. Marcel
Aubert, La sculpture fran^aise au moyen-dge (Paris, 1946), p. 173
repr. Willibald Sauerlander, "Die Marienkrdnungsportale von Senlis
und Mantes," Wallraf-Richartz-Jahrbuch, xx (1958), 148-149, fig-
89. Willibald Sauerlander, "Art antique et sculpture autour de 1200,
Saint-Denis, Lisieux, Chartres," Art de France, I (1961), 51, figs. 15,
16 .

Ill—33 page 120

Group of Apostles and Angels. Saint-Gilles (Gard), Musee de la
maison romane.

Relics brought back from the Holy Land after 1187 were eventually
distributed to various churches, and the recipients in the Midi cer¬
tainly must have received them with great emotion, a possibility that
may be reflected in the prominence given the instruments of the Pas¬
sion in the preserved relief. Something of the fervor of the times may
also be felt in the group of apostles who, while transfixed by Christ
also are humbled and made almost to tremble as they half-rise from
a sitting position. Unlike the resigned apostles in the reliefs in the
museum at Montpellier, the present scries seem to take an active role
in the subject of the larger composition. Gouron suggests that there
may have been an intercessory significance to the upturned gaze of the
youthful Saint John, an intercession for the local population at the
moment of Judgment.

bibliography: Marcel Gouron, "Decouverte du Tympan de
leglise Saint-Martin a Saint-Gilles," Annales du Midi, lxii (April
1950), 115-120, repr. Richard Hamann, Die Abteikirche von St.
Gilles und ihre kunstlerische Nachfolge (Berlin, 1955), I, 251-254,
abb. 320. Fernand Benoit, "Provence," in Marcel Aubert et al., Lart
roman en France (Paris, 1961), p. 419, repr.

chapter iv High Gothic Synthesis and the New Monumental Art

IV-l page 124

Head of an Apostle. The Art Institute of Chicago.

proposed that one of the prominent sources for the figural style of

the adjacent Coronation Portal was Byzantine ivories of the Mace¬

donian renaissance. Now Professor Greenhill adds the newly-under¬
stood apostles of circa 1200 from the Judgment Portal a few paces
away.

The same author also states that the style represented by the two
torsos and the Chicago Head is not Parisian in origin but the product

359

of an atelier coming from northeast France, possibly the Anchin-
Tournai area. The fragments are rightly connected with the classiciz¬
ing style of a large group of works in various media dating from the
late twelfth to the mid-thirteenth century. 4 The style has been tra¬
ditionally and especially associated with the area between the Marne
and the Meuse valleys. Dr. Greenhill finds the closest stylistic analo¬
gies in objects datable circa 1200, including the metalwork sculptures
of Nicholas of Verdun and painted figures in the Missal of Anchin
and the Psalter of Queen Ingeborg. The atelier of the apostle figures
on the Judgment Portal may have come from the same northeast
French area and may have, to quote Dr. Greenhill, ’'the distinction of
having first translated the style of the Ingeborg Psalter into monu¬
mental dimensions.” This realization leads Dr. Greenhill to a re¬
affirmation of the primacy of Paris over Chartres proposed by Sauer-
lander and reopens "the entire question of direct Paris influence on
Reims independent of Amiens.” This study is also important for a
continuation of the classicistic style of the Ingeborg Psalter, and the
apostle sculptures may be seen in the Noyon Missal leaf and in
certain Limoges copper-gilt reliefs (see cat. nos. iv-14, 16, 17).
ex COLLECTION : Dr. Jacob Hirsch, New York.
exhibition: Boston, Museum of Fine Arts, 1910: Arts of the
Middle Ages, 1000-1400, no. 175.

bibliography : Meyric R. Rogers, Bulletin of the Art Institute of
Chicago, xxxix (March 1945), 36 repr. Meyric R. Rogers and Os¬
wald Goetz, Handbook to the Lucy Maud Buckingham Collection
(Chicago, 1945), p. 62, no. 6, repr. frontispiece, pis. x, xi. "Two
Stone Heads from the Lucy Maud Buckingham Medieval Collection,”
Art Quarterly, vm (Winter 1945), 79-80, repr. 78. Bulletin of the
Art Institute of Chicago, XL (January 1946), 22. "Medieval Sculp¬
ture in the Buckingham Collection,” Connoisseur, exx (September
1947), p. 53, fig. vii. Eleanor S. Greenhill, "The Provenance of a
Gothic Head at the Art Institute of Chicago,” Art Bulletin, xlviii
(June 1966), repr.

1 Otto Homburger, "Zur Stilbestimmung der figurlichen Kunst Dcutsch-
lands und des westlichen Europas im Zeitraum Zwischen 1190 und 1250,"
Formositas Rotnanica (Frauenfeld, 1959), p. 35ff.

IV-2 page 126

Plaque: Death of the Virgin. Paris, Musee du Louvre.

EX COLLECTION: Revoil (acquired 1828).
exhibition: Rome, Bibliotheque Apostolique Vaticane, 1963:
Emaux de Limoges du moyen-age, cat. no. 86, pi. xxxi.
bibliography: J. J. Marquet de Vasselot, Musee du Louvre,
Catalogue sommaire de l’orfevrerie, de lemaillerie et des gemmes du
moyen-age au XVII e siecle (Paris, 1914), no. 92. Gislaine Yver,
"L’Emaillerie,” LOrfevrerie la joaillerie (Paris, 1942), p. 66 repr.
Marie-Madeleine S. Gauthier, Emaux Union sins chain pi eves des XI I e ,
XIII e et XlV e siecles (Paris, 1950), pp. 49, 63, 64, 74, pi. 40. Peter
Lasko, "A Notable Private Collection,” Apollo, lxxix (June 1964),
473. Hermann Schnitzler, Peter Block and Charles Ratton, Email,
Goldschmiede und Metallarbeiten, Europdisches Mittelalter, Samm-
360

lung E. und M. Kobler-Truniger Luzern (Luzern und Stuttgart,
1965), p. 21. Marie-Madeleine S. Gauthier, "L’art de Femail cham-
pleve en Italie a lepoque primitive du gothique,” II gotico (in press)
(2 e Convegno inter, di studi. II gotico a Pistoia, ... 1966).

IV-3 page 128

Head of a Prophet (?). Senlis (Oise), Musee de Haubergier.
exhibitions: Paris, Palais National des Arts, 1937: Chefs
d’oeuvre de Fart fran^ais, no. 962. Paris, Musee du Louvre, 1962:
Cathedrales, no. 44 repr.

bibliography: Marcel Aubert, "Le Portail occidental de la
Cathedrale de Senlis,” Revue de 1 art chretien, lx (1910), 160 (fig.
2), 161. Marcel Aubert, Monographic de la Cathedrale de Senlis
(Senlis, 1910), 103, repr. opp. p. 108. Marcel Aubert, French Sculp¬
ture at the Beginning of the Gothic Period (New York, 1929), p.
68, pi. 59. Marcel Aubert, "Tetes gothiques de Senlis et de Mantes,”
Bulletin monumental, xcvii (1938), 10-11, repr. Marcel Aubert, La
sculpture franfaise au moyen-age (Paris, 1946), pp. 208-209, repr.
Hans Wcigert, Gotische Plastik in Europa (Frankfurt-am-Main,
1962), pi. 52. Marcel Aubert, "Les tetes de Senlis,” Melanges offerts
en hommage a M. Louis Blondel (Geneva, 1963), pp. 257-260, repr.
Francis Salct, Bulletin monumental, cxxii (1964), 91-92.

IV-4 page 130

Baptism of Christ. Boston, Museum of Fine Arts.
ex collections: Germeau (sale, Paris, 1868, no. 51). Countess
Dzialynski, Chateau de Goluchow, Poland. Prince Wladislaw Czar-
toryski. Chateau de Goluchow, Poland.

exhibitions: Paris, 1865: L’Exposition de bunion central des
Beaux-Arts appliques a Findustrie, no. 617. Paris, 1880: L’Exposition
de 1880.

bibliography: Alfred Darcel, "Musee retrospectif, le moyen-
age,” Gazette des Beaux-Arts, xix (1865), 439. J. B. Giraud, Les
Arts du Metal (Paris, 1881), pi. 3. Edouard Gamier, Histoire de
la verrerie et de lemaillerie (Tours, 1886), pp. 426 ff. Ernest Rupin,
LOeuvre de Limoges (Paris, 1890), p. 358, fig. 423. Emile Molinier,
Collection du chateau de Goluchow (Paris, 1903), pi. 6. Georg
Swarzenski, "A Masterpiece of Limoges,” Bulletin of the Museum
of Fine Arts, Boston, xlix (February 1951), 17-25, fig. 1 . Bulletin of
the Museum of Fine Arts, Boston, lv (Autumn-Winter 1957), no. 32
repr. Marie-Madeleine S. Gauthier, "Innovations du premier art
gothique dans Foeuvre de Limoges,” Annuaire de I’Ecole pratique des
Hautes Etudes, Sciences religieuses, lxxiii (1964-1965), 141-142.
Marie-Madeleine S. Gauthier, in Monuments historiques de la France
(1966), in press.

IV-5 page 130

The Lust Supper. Paris, Musee National des Thermes et de l’Hotel
de Cluny.

ex collection: Fonds Alexandre du Sommerard.
bibliography: E. du Sommerard, Catalogue, Musee des Thermes
et de I’Hotel de Cluny (Paris, 1881), no. 4994. Ernest Rupin,
UOeuvre de Limoges (Paris, 1890), p. 363, fig. 428. Elisa Maillard,
"L’Orfevrerie francaise des origines a la renaissance," L’Orfevrerie la
joaillerie (Paris, 1942), p. 20 repr. Georg Swarzenski, "A Master¬
piece of Limoges,” Bulletin of the Museum of Fine Arts, Boston,
XLIX (February 1951 ), 24, n. 2. Marie-Madeleine S. Gauthier, "In¬
novations du premier art gothique dans l’oeuvre de Limoges," An-
nuaire de I’Ecole pratique des Hautes Etudes, Sciences religieuses,
lxxiii (1964-1965), 141-142. Marie-Madeleine S. Gauthier, in
Monuments historiques de la France (1966), in press.

IV-6 page 130

The Betrayal of Christ. Baltimore, The Walters Art Gallery.

ex collections: Daguerre, Paris (until 1925). Henry Walters,

Baltimore.

exhibitions: Baltimore Museum of Art, 1956-1957: 4000 Years
of Modem Art, no. 100.

bibliography: Walters Art Gallery, Handbook of the Collection
(Baltimore, 1936), p. 71. Georg Swarzenski, "A Masterpiece of
Limoges," Bulletin of the Museum of Fine Arts, Boston, xlix, Febru¬
ary 1951), 24, n. 3. Sam Hunter, "A Plaque from Limoges," The
Minneapolis Institute of Arts Bulletin, xlvii (July-December 1958),
30. Marie-Madeleine S. Gauthier, "Innovations du premier art
gothique dans l’oeuvre de Limoges," Annuaire de I’Ecole pratique des
Hautes Etudes, Sciences religieuses, lxxiii (1964-1965), 141-142.
Marie-Madeleine S. Gauthier, in Monuments historiques de la
France (1966), in press.

IV-7 page 130

The Flagellation of Christ. Paris, Musee National des Thermes et de
1’Hotel de Cluny.

ex collection: Fonds Alexandre du Sommerard.
bibliography: E. du Sommerard, Catalogue, Musee des Thermes
et de I’Hotel de Cluny (Paris, 1881), no. 4993. Ernest Rupin,
LOeuvre de Limoges (Paris, 1890), pp. 364, 365, fig. 430. Georg
Swarzenski, "A Masterpiece of Limoges," Bulletin of the Museum of
Fine Arts, Boston, xlix (February 1951), 24, fig. 6. Marie-Madeleine
S. Gauthier, "Innovations du premier art gothique dans l’oeuvre de
Limoges," Annuaire de I’Ecole pratique des Hautes Etudes, Sciences
religieuses, lxxiii (1964-1965), 141-142. Marie-Madeleine S. Gau¬
thier, in Monuments historiques de la France (1966), in press.

IV-8 page 130

The Entombment of Christ. Minneapolis Institute of Arts.
ex collections: Germeau (sale, Paris, 1868, no. 51). Countess
Dzialynski, Chateau de Goluchow, Poland. Prince Wladislaw Czar-
toryski. Chateau de Goluchow, Poland. Sir Kenneth Clark, London.
bibliography: Georg Swarzenski, "A Masterpiece of Limoges,"
Bulletin of the Museum of Fine Arts, Boston, XLIX (February 1951),
24, n. 1. Sam Hunter, "A Plaque from Limoges," AUnneapolis In¬
stitute of Arts Bulletin, xlvii (July-December 1958), 29-33, fig. 1.
Malcolm Vaughan, in Cofjnoisseur, cxliii (April 1959), 198-199,
repr. Marie-Madeleine S. Gauthier, "Innovations du premier art
gothique dans l’oeuvre de Limoges,” Annuaire de I’Ecole pratique des
Hautes Etudes, Sciences religieuses, lxxiii (1964-1965), 141-142.
Marie-Madeleine S. Gauthier, in Alonuments historiques de la
France (1966), in press.

IV-9 page 134

Head of a Prophet or an Apostle. Strasbourg (Bas-Rhin), Musee de
l’Oeuvre Notre-Dame.

exhibitions: Strasbourg, Musee de l’Oeuvre Notre-Dame, 1948:
Exposition d’art religieux du moyen-age, no. 1, 2, or 3. Paris, Musee
des arts decoratifs, 1948: Chefs d’oeuvre de l’art alsacien et de l’art
lorrain, nos. 3, 4. Delft, Stedelijk Museum "Het Prinsenhof," 1949:
Elzasser Schoonheid, no. 26.

bibliography: Hans F. Seeker, "Bruchstiicke verlorengeglaubter
Bildwerke des Strassburger Miinsters," Aionatshefte fiir Kunsticissen-
schaft, iv (1911), 546-549, pi. 122, fig. 11. Otto Schmidt, Cotische
Skulpturen des Strassburger Aiiinsters (Frankfurt-am-Main, 1924),
I, pi. 13 b; ii, p. vi, no. 2. Rudolf Kautzsch, "Ein friihes Werk
des Meisters der Strassburger Ekklesia,” Oberrheinische Kunst, in
(1928), 133-148, pi. 57, fig. 2. Richard Hamann and Hans Weigert,
Das Strassburger Munster und seine Bilduerke (Berlin, 1928), pp.
66-68, pi. 33; (1942), p. 35, fig. 33. Erwin Panofsky, "Zur
kiinstlerischen Abkunft des Strassburger ’Ecclesiameisters,’"
Oberrheinische Kunst, iv (1929-1930), 124-129, pi. 60, fig. 3.
Kurt Bauch, "Zur Chronologie der Strassburger Munsterplastik im
XIII. Jahrhundert," Oberrheinische Kunst, vi (1932), 5-8. La

cathedrale de Strasbourg, le monument, son histoire et son
tconographie (Strasbourg, 1932), pi. xliv. Hans Haug, Robert
Will, Theodore Rieger, Victor Beyer, Paul Ahnne, La cathedrale de
Strasbourg (Strasbourg, 1957), pp. 73, 74, pis. 49, 66. Victor Beyer,
La sculpture medievale du A1 usee du I’Oeuvre Notre-Dame
(Strasbourg, 1963), no. 66, repr.

IV-10 page 136

Llead of the Prophet Jeremiah. Paris, Depot des Monuments his¬
toriques.

ex collections: Leprevost. Lucien Begule, Lyon.

361

exhibitions: Paris, Musee des arts decoratifs, 1953: Vitraux de
France du XI e au XVI e siecle, no. 17, pi. 11. Paris, Musee du Louvre,
1962: Cathedrales, no. 148.

bibliography: Inventaire des vitraux ... deposes actuellement
chez M. le Prevost ... 1885 (MS. des Archives des Monuments his-
toriques). Lucien Begule, Monographic de la Cathedrale de Lyon
(Lyon, 1880), p. 142. Lucien Begule, Les vitraux du moyen-dge et
de la renaissance de la region lyonnaise (Paris, 1911), p. 54.

IV-11 page 138

Head of a Bishop. Reims (Marne), Depot lapidaire de la Cathedrale.
exhibitions: Paris, Musee de l’Orangerie, 1959: L’art en Cham¬
pagne au moyen-age, no. 17. Paris, Musee du Louvre, 1962: Cathe¬
drales, no. 67.

bibliography: Louise Lefrancois-Pillon, Les sculptures de Reims
(Paris, 1928), p. 13. J. H. L. Muller, Joyaux de sculpture, Reims
(Paris, 1954), pis. iv-vi. Anne Paillard-Prache, "Tetes sculptees du
XIII e siecle provenant de la cathedrale de Reims,” Bulletin monu¬
mental, cxvi (1958), 36, repr. 35.

IV-12 pagel40

Head of a Bishop. Paris, Musee du Louvre.

exhibition: Paris, Musee du Louvre, 1962: Cathedrales, no. 57
repr.

bibliography: Eugene Lefevre-Pontalis, "La Cathedrale de
Soissons,” Congres archeologique (Reims, 1911), l, 318-337. Marcel
Aubert and Michele Beaulieu, Description raisonne des sculptures du
moyen-dge, de la Renaissance et des temps modernes, I, Moyen-dge
(Paris, 1950), p. 107, no. 151, repr.

IV-13 page 142

Recumbent Tomb Statue of a Knight. Philadelphia Museum of Art.
ex collection: George Grey Barnard, New York.
bibliography: Martin Weinberger, The George Grey Barnard
Collection (New York, 1941), p. 15, no. 72, pi. xvm. Fiske Kimball,
"The Barnard Collection,” Philadelphia Museum of Art Bulletin, XL
(March 1945), 50-53, repr. 50. Philadelphia Museum of Art Bulletin,
xliii (January 1948), repr. 26.

IV-14 page 144

Leaf from a Missal, for Noyon use. Anonymous loan.
ex collections: Jacques Rosenthal. Erwin Rosenthal until 1945.
exhibitions: Baltimore, Walters Art Gallery, 1949: Illuminated
362

Books of the Middle Ages and Renaissance, no. 63, pi. xxiv.
Cambridge, Massachusetts, Fogg Art Museum and Houghton Library,
1955: Illuminated and Calligraphic Manuscripts, no. 27, pi. 10.
bibliography: Graf Vitzthum Geog, "Fragment eines Missale
von Noyon mit Miniaturen von Villard de Honnecourt,” Beitrage
zur For sc hung; Studien und Mitt eilun gen aus dem Antiquariat
Jacques Rosenthal (Munich, 1944), I, iv-v, 102-113, pis. xiv-xvi.
Hans R. Hahnloser, Villard de Honnecourt (Vienna, 1935), pp.
217-219, repr. figs. 10, 17. Peter Bloch, "Nachwirkungen des alten
Bundes in der christlichen Kunst,” Monumenta Judaica, 2000 Jahre
geschichte und Kultur der Juden am Rhein, Handbuch (Koln, 1963),
p. 754, fig. 65.

IV-15 page 146

Enthroned Madonna and Child. Paris, Musee du Petit-Palais.
ex COLLECTIONS: Benjamin Fillon until 1882 (cat. no. 249).
Auguste Dutuit until 1902.

exhibition: Paris, Petit-Palais, 1950: La Vierge dans l’art
fran^ais, no. 239.

bibliography: Alfred Darcel, "Le moyen-age et la renaissance au
Trocadero,” Gazette des Beaux-Arts, xvm, 2 e serie (1878), 287
repr. Gaston Migeon, "Les Objets dart de la collection Dutuit,"
Les Arts, I (December 1902), pp. vii, 30. P. Frantz Marcou, "La
collection Dutuit, la moyen-age et la renaissance,” Gazette des
Beaux-Arts, xxix, 3 e serie (1903), 137. Raymond Koechlin, Les
ivoires gothiques franfais (Paris, 1924), I, 50 fL; Ii, no. 7; III, pi. ill.
Henry Lapauze, Catalogue sommaire des collections Dutuit, Palais
des Beaux-Arts (Paris, new edition, 19.25), no. 1331, repr. Louis
Grodecki, Ivoires jranfais (Paris, 1947), p. 81, pi. XXI.

IV-16 page 148

Relief Applique Figure of Saint Paul with Background Plaque. Paris,
Musee du Petit-Palais.

ex collections : Germeau. Auguste et Dutuit, until 1902.
exhibition: Rome, Bibliotheque Apostolique Vaticane, 1963:
Emaux de Limoges, no. 91.

bibliography: Gaston Migeon, "Les Objets d'art de la collection
Dutuit,” Les Arts, I (December 1902), pp. VII, 31, repr. 8. Henry
Lapauze, Catalogue sommaire des collections Dutuit (Paris, 1925),
no. 1296. J. J. Marquet de Vasselot, Les crosses limousins du XIII e
siecle (Paris, 1941), pp. 153, 155 n. 2, pi. xxxiv. Marie-Madeleine
S. Gauthier, Emaux limousins (Paris, 1950), pp. 21, 49-50, 67, pi.
44. Genevieve Souchal, "Les Emaux de Grandmont au XII e siecle,”
Bulletin monumental, cxxi (April-June 1963), 126, 128, 129, 146.
Genevieve Souchal, "L’Email de Guillaume de Treignac, Sixieme
Prieur de Grandmont,” Gazette des Beaux-Arts, lxiii (February
1964), p. 76, fig. 7. Marie-Madeleine S. Gauthier, "Emaillerie cham-
pleve meridionale; maitres et ateliers, note sur les methodes de

recherche,” Bulletin de la Societe Archeologique et Historique du
Limousin, xci (1964), 68-69.

IV-17 page 148

Relief Applique Croup of the Enthroned Madonna and Child . The
Cleveland Museum of Art.

ex collections: Mrs. Victoria Hantschel, Tegernsee, Ober-
bayern. Wildenstein & Co., New York.

exhibition: The Cleveland Museum of Art, 1962: Year in Re¬
view, no. 31 repr.

bibliography: "La Chronique des Arts,” Gazette des Beaux-
Arts, LXl,Vl e Period, no. 1129 (February 1963), no. 91, p. 23 repr.
Marie-Madeleine S. Gauthier, ’’Innovations du premier art gothique
dans Toeuvre de Limoges,” Annuaire de I’Ecole pratique des Hautes
Etudes, Sciences religieuses, lxxiii (1964-1965), 141-142.

IV-18 page 148

Relief Applique Figure of a Deacon Saint, Transformed into a Statu¬
ette Reliquary. Les Billanges (Haute-Vienne), eglise.
exhibitions: Paris, Palais national des arts, 1937: Exposition
internationale. Chefs-d’oeuvre de Tart francais, no. 1198. Paris,
Musee des arts decoratifs, 1965: Les Tresors des eglises de France,
no. 357, pi. 69.

bibliography: Abbe Texier, "L’Orfcvrerie au XIII e siecle,”
Annales archeologique, xm (November-December 1853), 323-325,
repr. 322. Leon Palustre and X. Barbier de Montault, Orfevrerie et
emaillerie limousines (Paris, n.d.), xxiv e partie, pi. xxiv. Abbe
Texier, ’’Grandmont, orfevrerie et tresor de l’abbaye de,” Diction-
naire d’orfevrerie, de gravure et de ciselure chretiennes in Encyclo¬
pedic theologique de Migne, xxvii (3rd ed; Paris, 1857), cols. 891-
893. Didron Aine, "Bronzes et orfevrerie du moyen-age,” Annales
archeologiques, xix (1859), 28-29, 28 repr. L. Guibert and Mieuse-
ment, Exposition retrospective de Limoges (Limoges, 1886), pp. 18 ff.,
pi. 15. Louis Guibert, "L’Orfevrerie limousine et les emaux d’orfevre
a l’exposition retrospective de Limoges,” Bulletin de la Societe ar¬
cheologique et historique du Limousin, XIII, 2 e serie (Limoges, 1888),
217. Ernest Rupin, JJOeuvre de Limoges (Paris, 1890), pp. 150, 306
(fig. 377), pp. 475-477 (figs. 525, 526). Andre Demartial, "L’Or¬
fevrerie emaillee de Limoges,” Congres archeologique, Session 84
(Limoges, 1921), p. 436, pi. p. 437. Joan Evans, Art in Medieval
France, 987-1498 (London, 1948), pi. 119. Marie-Madeleine S.
Gauthier, Emaux limousins champleves des XII € a XIV e siecles
(Paris, 1950), cf. p. 49, pi. 46. Genevieve Souchal, "Les emaux de
Grandmont au XII e siecle,” Bulletin monumental, cxxi (1963), 62-
64, fig. 10. Genevieve Souchal, "L’Email de Guillaume de Treignac,
Sixieme Prieur de Grandmont,” Gazette des Beaux-Arts, lxiii
(February 1964), 76, fig. 4.

IV-19 page 152

Front of a Corporal Case or an Antependium Fragment with the
Enthroned Madonna and Child with Saints and Kneeling Bishop (?).
Lyon (Rhone), Treasury of the Cathedral.

bibliography: Arthur Martin, "Broderie conserve au Musee
archiepiscopal de Lyon,” Melanges d’archeologie d’histoire et de
litterature (Paris, 1856), IV, 262-263, pi. xxvii.

IV-20 page 154

Crosier ivith Saint Michael. The Detroit Institute of Arts.
ex collections: Debruge-Dumenil, Paris. Soltykoff, Paris. F. M.
Gontard and R. von Passavant, Frankfurt-am-Main. Madame Walter
von Pannwitz, Hartekamp, near Haarlem.

exhibitions: Frankfurt-am-Main, Kunstgewerbemuseum, 1914:
Ausstellung alter Goldschmiede Arbeiten, aus Frankfurter Privat-
besitz und Kircherschatzen, no. 107. Buffalo Fine Arts Academy,
Albright-Knox Gallery, 1964-1965: Religious Art, no. 44.
bibliography: Jules Labarte, Description des oh jets d’art qui
composent la collection Debruge-Dumenil (Paris, 1847), no. 683.
Collection Debruge-Dumenil, Sale Catalogue (Paris, January-March
1850), no. 683. Didron the Elder, "Manuel des oeuvres de bronze
et d’orfevrerie du moyen-age,” Annales archeologiques, xix (1859),
123 repr. Collection Soltykoff, Drouot, Sale Catalogue (Paris, April
1861), no. 195. Alfred Darcel, "La collection Soltykoff,” Gazette
des Beaux-Arts, x (1861), 294. R. Schilling, "Ausstellung der
Sammlung Passavant-Gontard,” Pantheon, ill (April 1929), fig-
on p. 184. Georg Swarzenski, Sammlung R. von Passavant-Gontard
(Frankfurt-am-Main, 1929), no. 113, pi. xxxix. J. J. Marquet de
Vasselot, "Trois crosses limousines du XIII e siecle dessinees par E.
Delacroix,” Bulletin de la Societe de I’histoire de I'Art Frangais
(Paris, 1936), pp. 138-146. J. J. Marquet de Vasselot, Les crosses
limousines du Xlll c siecle (Paris, 1941), pp. 89, 290, no. 160. Francis
W. Robinson, "An Enameled Crozier of Saint Michael,” Bulletin
of the Detroit Institute of Arts, XLI (Summer 1C )62), 69-71.

IV-21 page 156

Passion of Christ. Sens (Yonne), Depot des Monuments historiques.
ex collection: American private collector, who anonymously
gave the window to France in 1954.

exhibition : Paris, Musee du Louvre, 1962: Cathedrales, no. 156
repr.

bibliography: Louis Grodecki, Le Monde, May 8, 1954.

363

IV-22 page 158

Corbel with a Cowled Head. Boston, Museum of Fine Arts.
ex collection : Said to have come from a Strasbourg collection.
bibliography: Hanns Swarzenski, “Some Recent Accessions,*'
Bulletin oj the Museum of Fine Arts, Boston, Lix (1961), 118.

IV-23 page 160

Chasse, called Chdsse du Christ Legislateur. Bouillac (Tarn-et-
Garonne), eglise.

exhibitions: Montauban, Musee Ingres, 1961: Tresors d’art
gothique en Languedoc, no. 3. Paris, Musee des arts decoratifs, 1965:
Les tresors des eglises de France, no. 521, pi. 110.
bibliography: Jonglar, “Monographic de l’abbaye de Grand-
selve,” Memoires de la Societe du Midi de la France, VII (1853-
1860), 179-234. F. Galabert, “Mobilier de 1’abbaye de Grandselve
en 1790," Bulletin de la Societe archeologique du Tarn-et-Garonne,
xxvm (1900), 318-319. Fernand Pottier, “Les clochers de brique de
l’ecole Toulousaine dans la diocese de Montauban,” Bulletin de la
Societe archeologique du Tarn-et-Garonne, xxix (1901), 230. Ray¬
mond Rey, “Le tresor de Grandselve,” Gazette des Beaux-Arts, xiv
(1926), 5 repr., 8. P. Gayne, “L’abbaye de Grandselve,” Bulletin
de la Societe archeologique du Tarn-et-Garonne (1949), p. 123.
Mathieu Meras and D. Ternois, Tresors d’art de la Haute-Guyenne
(1956), p. 4, no. 3, pi. v. “L’Exposition Tresors d art sacre de la
Haute-Guyenne et ses problemes archeologiques,” Bulletin de la
Societe archeologique du Tarn-et-Garonne, lxxxii (1956), 90-91.
Mathieu Meras, "Le tresor de 1’abbaye de Grandselve,” Les Monu¬
ments historiques de la France, n nouv. serie (October-December
1956), 225, fig. 4.

chapter v Beginnings of Courtly Art
V-l page 168

Psalter and Hours of Yolande, Vicomtesse of Soissons, in Latin and
French. New York, Pierpont Morgan Library,
hand and workshop of Maitre Honore, has yet to be analyzed. (A
miniature fragment showing a priest [?] purifying an altar by or very
close to Maitre Honore may be seen in the Cleveland Museum’s col¬
lection [acc. no. 24.428].)

The late fourteenth-century additions to the manuscript contain one
striking full-page miniature showing the fall of the rebel angels (folio
404 verso) and two handsome historiated initials showing the Coro¬
nation of the Virgin and the Risen Christ as Judge (folios 405 and
427). These, too, need further study, if only for their high quality.
364

IV-24 page 162

Enthroned Madonna and Child. Breuilaufa (Haute-Vienne), eglise.
exhibitions: Limoges, Musee municipal de Limoges, 1948: Ex¬
position emaux limousins, XII e , XIII e , XIV°, siecles, no. 17. Rome,
Bibliotheque Apostolique Vaticane, 1963: Emaux de Limoges du
Moyen-age, no. 33, pi. xvii. Paris, Musee des arts decoratifs, 1965:
Les Tresors des eglises de France, no. 359.

bibliography: Leon Palustre and X. Barbier de Montault,
Orfevrerie et emaillerie limousines exposee a Limoges en 1886 (Paris,
n.d.), i re partie, pi. xxm. Louis Guibert, "L’Orfevrerie limousine et
les emaux d’orfevre a l’exposition retrospective de Limoges,” Bulletin
de la Societe archeologique et historique du Limousin, XIII (1888), 2 e
serie, p. 234. Ernest Rupin, L Oeuvre de Limoges (Paris, 1890), pp.
470, 471, fig. 522. Marie-Madeleine S. Gauthier, Emaux limousins
champleves des XII e a XIV e siecles (Paris, 1950), p. 55. \V. L.
Hildburg, "Medieval Copper Champleve Enamelled Images of the
Virgin and Child,” Archaelogia, xcvi (1955), 152-153, pi. XLVII.

IV-25 page 164

Portable Altar. Narbonne (Aude), Treasury of the Cathedral of
Saint-Just.

exhibitions: Carcasonne, Musee municipal, 1935: Exposition de
Part religieux audois, no. 188. Paris, Musee des arts decoratifs, 1965:
Les tresors des eglises de France, no. 603.

bibliography: Louis de Narbonne, “La cathedrale de St.-Just,”
Bulletins de la commission archeologique de Narbonne, v (1898),
97. Louis de Farcy, "Quelque pieces du tresor de la cathedrale de
Narbonne,” Revue de Part chretien, lxii (1912), 38, 39, fig. 2. Andre
Michel, Histoire de Part (Paris, 1927), n, 438, fig. 1037.

They probably can be assigned to the Paris workshop of Jean Bondol
sometime in the last quarter of the century.

ex collections: W. Y. Ottley (sale, London, Sotheby, May 11,
1838, nos. 127 and 2440). Robert S. Holford. Lt. Col. Sir George
Holford.

exhibitions: London, Burlington Fine Arts Club, 1908: Exhibi¬
tion of Illuminated Manuscripts, no. 139, pi. 94. New York, New
York Public Library, 1934: The Pierpont Morgan Library Exhibition
of Illuminated Manuscripts, no. 57, pi. 52. Baltimore, Walters Art
Gallery, 1949: Illuminated Books of the Middle Ages and Renais¬
sance, no. 59, pi. XXVII.

bibliography: The Holford Collection ... at Dorchester House
and ... at Westonbirt in Gloucestershire (London, 1924), no. 4, p. 37,

pis. 8-9. Seymour de Ricci and W. J. Wilson, Census of Medieval and
Renaissance Manuscripts in the United States and Canada (New
York, 1937), n, 1490. Erwin Panofsky, Early Netherlandish Painting
(Cambridge, Mass., 1953), p. 140, fig. 1, nn. 15*\ 23 2 , 127 5 , 278 1 .
Hans Wentzel, "Die Kornfeldlegende," Festschrift Kurt Bauch
(Munich, Berlin, 1957), p. 184. Millard Meiss, Painting in Florence
and Siena after the Black Death (Princeton, 1951), p. 148, fig. 157.
Gerhard Schmidt, Die Malerschule von St. Florian (Graz, 1962),
pp. 116, 122, 125, fig. 33. Erwin Panofsky, "Mouse Michelangelo
Failed to Carve," Essays in Honor of Karl Lehmann, Marsyas Sup¬
plement (Gluckstadt, 1964), I, 244, fig. 2. Lilian M. C. Randall,
Images in the Margins of Gothic Manuscripts (Berkeley and Los
Angeles, 1966), pp. 34, 95, 155, 166, 235, fig. 383.

V-2 page 172

Antiphonary of Beaupre, in Latin. Baltimore, The Walters Art Gal¬
lery.

preserved marginalia are illustrated in the recent book on the subject
by Lilian M. C. Randall; 3 these are identified as 'Dives and Lazarus,
feast" (folio 60), ". . . death of Dives" (folio 90), and "Fishmonger:
selling fish to woman and boy" (folio 108).

The Psalter and Hours of Yolande of Soissons (cat. no. v-1) and
the Antiphonary of Beaupre, are two contemporary northeast French
works which have much in common in both style and in marginalia
interest. However, the Antiphonary, while being more monumental,
is still perhaps more delicate and elegant, and its linearism is more
relaxed and a little less incisive. The smaller manuscript by its very
compactness crowded full of imagery has a more forceful impact. Its
imagery is more vivid, its colors are sharper, and its line more ex¬
pressive. However, in our more lyrical and possibly more harmoni¬
ous moments, we may prefer the simpler drama and elegance of the
gift of the lady of Viane to the Cistercian convent at Beaupre.
ex COLLECTIONS: John Ruskin (acquired before 1853). Mrs.
Severn (until 1902 and 1904). Henry Yates Thompson (sale, Lon¬
don, Sotheby’s, June 22, 1921, no. 67). A. Chester Beatty (sale, Lon¬
don, Sotheby’s, pt. I, June 7, 1932, no. 15). William Randolph
Hearst. Presented by the Hearst Foundation in January, 1957 to the
Walters Art Gallery.

exhibition: London, Burlington Fine Arts Club, 1908: Exhibi¬
tion of Illuminated Manuscripts, no. 61-62, pi. 54.

bibliography: John Ruskin, Giotto and his Works at Padua in
The Works of John Ruskin, eds. E. T. Cook and A. Wedderburn
(London, 1903-1912), xxiv, 83, 84, repr. John Ruskin, Modern
Painters in Works, vi, figs. 98, 99, 116. John Ruskin, Works, xu, p.
lxx. Henry Yates Thompson, A Descriptive Catalogue of Twenty
Illuminated Manuscripts ... in The Collection of Henry Yates
Thompson, 3rd series, no. lxxxiii (Cambridge, 1907), pp. 55-74.
Henry Yates Thompson, Illustrations from One Hundred Manu¬
scripts in the Library of Henry Yates Thompson (London, 1907-

3 Lilian M. C. Randall, Images in the Margins of Gothic Manuscripts
(Berkeley and Los Angeles, 1966), pp. 91, 100, figs. 153, 154, 185.

1918), VI, pis. xii-xxiii. Eric G. Millar, The Library of A. Chester
Beatty, a Descriptive Catalogue of the Western Manuscripts (Ox¬
ford, 1927-1930), II, 88-103, no. 63, pis. cxxxm-cxxxix. S. de
Ricci and W. J. Wilson, Census of Medieval and Renaissance Manu¬
scripts in the United States and Canada (New York, 1935-1937),
ii. 1688, no.4. R. S. Loomis and L. H. Loomis, Arthurian Legends in
Medieval Art (New York, 1938), p. 92, n. 22. Dorothy Miner, "The
Antiphonary of Beaupre," The Bulletin of the Walters Art Gallery,
ix (May 1957), 4-6, repr. W. H. Bond and C. U. Faye, Supplement
to the Census of Medieval and Renaissance Manuscripts in the
United States and Canada (New York, 1962), p. 199, nos. 574-577.
Lilian M. C. Randall, Images in the Aiargins of Gothic Alanuscripts
(Berkeley and Los Angeles, 1966), pp. 38, 91, 100, figs. 153, 154, 185.

V-3 page 174

Quadrilobed Plaque. The Cleveland Museum of Art.
bibliography: Helen S. Foote, "A Quatrefoil Medallion of
Translucent Enamel," cma Bulletin, xx (March 1933), 38-40, repr.

V-4 page 176

Crosier Head. Baltimore, The Walters Art Gallery.
bibliography: Hans Wentzel, "Der Augustalis Friedrichs II und
die abendlandische Glyptic dcs 13 Jahrhunderts," Zeitschrift fur
Kunstgeschichte, xv (1952), 187, fig. 5.

V-5 page 178

Chdsse, called of Saint-Romain. Rouen (Seine-Maritime), Treasury
of the Cathedral of Notre-Dame.

exhibition: Paris, Musec des arts decoratifs, 1965: Les Tresors
des eglises de France, no. 210, pi. 112.

bibliography: Pierre A. Floquet, Histoire du privilege de Saint
Romain... (Rouen, 1833), 2 vols. including E. H. Langlois’ Re¬
marques sur la chdsse de Saint Romain and Description de la cha-
pelle de Saint Romain. also A. Deville’s Notice sur la chdsse de
Saint Romain. Abbe Texier, "Fierte de Saint Romain," Dictionnaire
d'orfevrerie, de gravure et de ciselure chretiennes in Encyclopedic
theologique de Migne (3rd edition; Paris, 1857), xxvii, cols. 736-
758. Jean Taralon, "La cathedrale de Rouen, le mobilier et le tresor,"
Les AXonuments historiques de la France, II, nouv. serie (April-June
1956), 125-136. Jean Taralon, "Note complementaire sur la chasse
de Saint-Romain," Les Aionuments historiques de la France, II, nouv.
serie (October-December 1956), 235-237.

V-6 page 180

Angel of the Annunciation. Janville (Oise), eglise.
exhibition: Paris, Petit Palais, 1950: La Vierge dans Part fran-
cais, no. 149, pi. 21.

365

V-7 page 182

Virgin and Child. Paris, Musee du Louvre.

ex collections : Duval. Alexander Lenoir (sale, 1837, no. 193).
Debruge-Dumenil (sale, 1849, no. 146). Soltykoff (sale, 1861, no.
225).

exhibition: London, Royal Academy of Arts, 1932: Exhibition
of French Art (London, 1933), no. 1065, pi. 239.
bibliography: Raymond Koechlin, Les Ivoires gothiques franfais
(Paris, 1924), I, 93; II, no. 95 (cites previous bibliography); in,
pi. xxxi. Joan Evans, Art in Medieval France, 987-1498 (London,
New York, and Toronto, 1948), p. 205, fig. 192. Louis Grodecki,
Ivoires franfais (Paris, 1947), p. 88, pi. xxvi. Joseph Natanson,
Gothic Ivories of the Thirteenth and Fourteenth Centuries (London,
1951), p. 19, fig. 24. Les Merveilles du Louvre (Paris, 1958), I, 275
repr. O. Beigbeder, Ivory (New York, 1965), pp. 34-35, fig. 27 on
p. 30.

V-8 page 184

Virgin and Child. Grandrif (Puy-de*Dome), eglise.
exhibition: Paris, Musee des arts decoratifs, 1965: Les tresors
des cglises de France, no. 443.

V-9 page 186

Tuo Altar Angels. Princeton (New Jersey), Princeton University,
The Art Museum.

In 1959 Richard H. Randall rightly questioned an attribution to
Reims of the entire number of such wooden angels, all of the prove¬
nances of which, where known, were quite different from that of
Reims. They seem to come mostly from regions generally north of
Paris, the Valley of Oise, Picardy, and’ Artois. Now added to the
evidence marshaled by Mr. Randall, we may consider the discovery
of the Saudemont angels and their localization at Arras, together with
those of Humbert and one example in the Louvre.
ex collection: Baron Arthur Schickler, Martinvaast Castle,
Cherbourg.

bibliography: Marcel Aubert, "Une Nouvelle statue d’ange de
la fin du XIII e siecle au Musee du Louvre," Monument Piot, xxxi
(1930), repr. 125 (fig. 6), 127. Richard H. Randall, Jr., "Thirteenth
Century Altar Angels," Records of the Art Museum, Princeton Uni¬
versity, xviii (1959), 2-16, fig. 1.

V-10 page 188

Virgin and Suckling Christ Child. Rouen (Seine-Maritime), Musee
des Antiquites de la Seine-Inferieure.

366

EX collections: Jouenne, Lisieux (until 1854). Francois,
Rouen. Andre Pottier, Rouen.

exhibitions: Paris, 1878: Exposition universelle. Paris, 1889: Ex¬
position universelle. Paris, 1900, Exposition universelle retrospective
de Fart francais, no. 87. Rouen, Musee de peinture, 1931: Exposition
d'art religieux ancien, no. 108. Paris, Palais national des arts, 1937:
Chefs-d’oeuvre de Fart francais, no. 1257. Paris, Petit Palais, 1950:
La Vierge dans Fart francais, no. 243, pi. 23. Antwerp, Koninklijk
Museum voor schone Kunsten, 1954: De Madone in de Kunst, no.
279, pi. xxv.

bibliography: Alfred Darcel, "Le moyen age ct la renaissance
au Trocadero," Gazette des Beaux-Arts, xviii, 2 e serie (1878), 284.
J. J. Vernier, Guide du visiteur, Musee des Antiquites de la Seine-
Inferieure (Rouen, 1923), p. 24, pi. vii. Raymond Koechlin, Les
Ivoires gothiques franfais (Paris, 1924), I, 103; II, no. 91; III, pi.
xxix. Tardy, Les ivoires, evolution decorative du I r€ siecle a nos jours
(Paris, 1966), p. 61 repr.

V-ll page 190

Flead of an Apostle. The Cleveland Museum of Art.
mon vocabulary in the details which are utilized in different combina¬
tions throughout. Thus two figures in the Toulouse series may exhibit
similar treatment of the details of the face, whereas the carving of
the hair may be completely different. As a group, however, their faces
successfully unite a curious idealism with a powerful realism. The
draperies are full and ample, although not so monumental as certain
thirteenth-century precursors, such as the series of apostles carved for
Sainte-Chapelle in Paris.

The importance of these sculptures and a feature which impresses
all modern-day pilgrims to Toulouse is their grandeur and nobility
combined with monumentality. Collectively they give a sense of pro¬
found conviction and presence, a medieval sobriety and massiveness.
This is in spite of the fact that their proportions with their over-
large and over-life-size heads make them seemingly humble heirs to
the classical tradition which they recall in certain other details. We
appreciate them for their "delicious naivete” filled with tenderness,
to paraphrase Rachou, and for their humility saturated with deep
thought.

The over-life-size Head of an Apostle from Cleveland, of a similar
calcite limestone, must be viewed in relation to this background,
especially since it presents several striking parallels. These may be
seen in the flared nostrils, in the robustly curvilinear, wig-like hair,
in the opposing curled strands within this mass and in the beard,
and in the taut flesh areas, interrupted by deep furrows and abruptly
stopped by the distinct edges and textures of the hair and beard.
Generally speaking, it has a comparable monumental scale and bear¬
ing. It has suffered more than most of the sculptures in Toulouse in
that it has lost nearly all of the paint as well as the preparatory
layers which supported the paint. The stone itself has been pitted and
roughened through mild weathering and it has also been subjected
to long-term multiple lichen growths. In its present surface, the

Cleveland Head most resembles the eroded surfaces of two specific
apostles at Toulouse, the one with a tree branch staff and another
who has lost his attributes. 4 Also the Cleveland Head may have had
a halo which was one piece with the same block of stone, judging
from the recessed groove across part of the back edge at the top.

Familiar with the previously mentioned problem of forgeries in the
"Toulouse style" as published by Mr. Rorimer, the Cleveland Mu¬
seum obtained two completely independent technical reports made
by the laboratories of the Museum of Fine Arts in Boston and the
Intermuseum Laboratory at Oberlin. These confirmed the fact that
the Cleveland Head was of ancient origin and that its present surface
was due to the accidents of weather, plant growth, and time.

For several years the Cleveland Head was mounted incorrectly—
i.e., rigidly frontal with eyes level, like a classical head. In this posi¬
tion and in the photographs showing it in this way, the elements of
symmetry, the balance of the opposing curls, were accentuated, as
was also the linear character of the Head because of the bright, raking
lighting. Experiments have been made more recently, placing the
Head in various positions and under different lighting conditions.
It now appears that the Head probably originally hung forward over
the chest of its lost body. It also seems that the Head was inclined
toward its left side. The first theory is confirmed by the beard, which,
while broken, clearly was attached at an angle to the front of the
figure. The second supposition is supported by the fact that the
revealed flesh area of the neck is of greater extent on the right side
than on the left, the direction of the tilt. A consideration of the heads
in the museum at Toulouse reveals that all were bent forward in a
comparable manner, to the left or to the right. In some cases, these
latter heads were so inclined that even their halos were tilted too.

Taking into consideration these theories and clues, the rough-cut
back plane of the Cleveland sculpture has been aligned vertically
both in the exhibition and in the photograph reproduced. In this
position the downward slope of the top of the Head with its parted
hair 5 becomes more apparent, and also the nuances of modeling as
well as a sense of the massive size of the Head become more in
evidence.

All of this cannot prove that the Cleveland Head is the head of
the missing apostle of the Rieux series. However, this possibility
cannot be ruled out because it resembles so closely in the profile view
the head attached to the missing apostle as it appears near the Saint
John the Baptist in a view of the Musee des Augustins depicted by a
lithograph of 1831 by Adrien Dauzats. 0

In any case there is no doubt of the stylistic proximity of these
works and that the Cleveland Head in all probability came out of
the same workshop as that which produced the series of twenty
figures for the Chapel of Rieux. This point can be vouched for by
comparison with other works in the Musee des Augustins which
seem to follow out of the same tradition at a slightly later date. Of the

4 Both are reproduced by Rachou, p. 21. See also Monument historicjues
photograph 85821 and Foto Marburg negative 32913.

5 Compare also with M. L. Miras, "La Vierge aux Colombes de Montpezat
et la sculpture Toulousaine," La Revue des Arts, ix (1959), 57-60, figs.
1, 3.

6 Paul Guinard, "El descubrimento del Languedoc romanico y los artistas
romanticos,” Goya, no. 43-45 (July-December 1961), repr. p. 139.

two sculptures from the Convent of the Grands-Carmes, one of
Saint Paul may be considered in this respect. The Saint Paul takes
many of the elements of the Rieux Saint Paul and gives them a spe¬
cial emphasis. The furrowed brow and cascading beard and hair
become fluid, less crisp, and the emotional impact of the Saint seems
to become one of anger in the later work, which loses the introspec¬
tive, monumental dignity of the model. Taken in this context, the
Cleveland Head seems closer to the Rieux series than to the later
work from the Convent of the Grands-Carmes.

When observed in the original under the ambiance of soft, natural
light, the Cleveland Head betrays all attempts at sensitive photog¬
raphy just as the Rieux sculptures do. The Cleveland work is one of
quiet strength, and in this it is a valued representative of the Gothic
tradition of sculpture in Languedoc. Through it we may begin to
grasp something of the continuous tradition of sculptors, who worked
initially for architects in the chantiers or stoneyards of the cathedrals
in the thirteenth century. These sculptors later became more inde¬
pendent, leaving the chantiers to join sometimes with specific shops,
fulfilling the requests of individual clients, both lay and ecclesiastic,
for retables, for single statues of personal devotion, and for the
religious and funerary monuments such as the large sculptural pro¬
gram for the Chapel of Rieux. These latter works, to which the Cleve¬
land fragment is intimately tied, are worthy successors in their ex¬
pressive monumentality to the earlier Romanesque achievements;
they are also amazing prefigurations of the flowering of sculpture in
fifteenth-century Burgundy, which followed the lead of the great
sculptor from Haarlem, Claus Sluter.

exhibition: The Cleveland Museum of Art, I960: Year in Re¬
view, no. 10.

V-12 page 192

Diptych with Scenes of the Annunciation , Nativity, Crucifixion, and
Resurrection. New York, Mr. and Mrs. Leopold Blumka.
technique. 2 All of the other larger works which follow seem to il¬
lustrate in part a gradual dissolution of quality in their enamels until
the poorest example is reached in the enamels of Dreiturmreliquiar in
Aachen datable 1360-1370. 3

The problems of precise localization are at the moment insoluble,
although the field of inquiry can be narrowed down to Paris, northern
France, and Aachen for enamels mentioned. The difficulties are multi¬
plied, however, by the simple fact that as the fourteenth century pro¬
gressed the mobility of artists and of works of art seemed to increase.
This mobility and the resulting cross-fertilization of traditions con¬
tributed to the phenomena of the so-called International Style of circa
1400. Perhaps it is best to consider each of the enamels in the group
a reflection of one common tradition which may have had roots in the
northern regions but was given a certain finesse and elegance in a

2 See Paul Thoby, Le Crucifix des Origines au Concile de Trente (Nantes,
1959), no. 294; Freeman, fig. 12; Steingraber, fig. 8; Ernst Gunther
Grimme, Aachener Goldschmiedekunst in Aiittelalter (Cologne, 1947),
color pis. 2, 3.

3 Grimme, color pi. 5.

367

codification process within the goldsmith shops in Paris. Some artists
working in Paris may have returned to their homeland in the north.
Some may have been called to Aachen to join or advise the craftsmen
there doing work for the treasury. In a recent article Erich Steingra-
ber localized the enameled base for the reliquary cross at Pamplona
and the Poldi-Pezzoli tabernacle in northern France in the early four¬
teenth century. 4 In an earlier article touching on the larger group,
"northern France” meant for him Paris. 5 It is well to keep in mind
that a strong enameling tradition seems to have flourished contem¬
poraneously in the Rhineland beyond as evidenced by the Eucharistic
Casket from Lichtenthal in the Morgan Library and by a medallion
with the Virgin and Child with angels in the Kunstgewerbemuseum
in West Berlin. 6

It is unwise to attempt to definitely localize the Blumka Diptych
before the problems of the group to which it belongs can be either
settled or clarified. The speculations given above can only provide a
suggestion for what tomorrow may be discredited. However, the
quality of the Diptych, evident in the restraint and care in its work¬
manship, and the proximity in style and invention to the Parisian
miniaturist, Honore, would give preference to a tentative attribution
of Paris and the early fourteenth century.

ex collection: John Edward Taylor, London (Christie’s sale,
July 1-4, 9, 1912, lot 235).

4 Erich Stein^riiber, "Beitragc zur gotischen Goldschmiedekunst Frank-
reichs," Pantheon, XX (1962), 162 flf., figs. 5-10.

5 Steingraber, in Connoisseur, CI.X (August 1957), p. 18.

6 See Katia Guth-Dreyfuss, "Transluzides Email in der ersten Hiilfte des
14. Jahrhunderts am Ober-, Mittel-, und Niederrhein,” Busier Studien
zur Kunstgeschich/e, ix (1954), which has been unavailable to the
present cataloguer.

V-13 page 194

Central Plaque front a Triptych: Virgin and Child with Angels. The
Cleveland Museum of Art.

ex collections: Francis Douce (d. 1834). Sir Samuel Rush
Meyrick (no. 39). John Malcolm of Poltalloch (no. 20). Durlacher
Brothers.

exhibition: Burlington Fine Arts Club, 1879: Catalogue of
Bronzes and Ivories, no. 275.

bibliography: Sir Samuel Rush Meyrick, "Catalogueof the Dou-
cean Museum,” Gentleman’s Magazine (June 1836), no. 39. William
M. Milliken, "An Ivory of the Early XIV Century,” cma Bulletin,
X (December 1923), 174-178, repr. on cover and p. 174. Raymond
Koechlin, Les ivoires gothiques jranfaises (Paris, 1924), II, 74, no.
169 bis.

V-14 page 196

Psalter, in Latin, for Dominican use. Baltimore, The Walters Art
Gallery.

ex COLLECTION: Blanche of Brittany(?).

368

exhibitions: Baltimore, The Walters Art Gallery, 1949: Illu¬
minated Books of the Middle Ages and Renaissance, no. 67, pi. xxxii.
Los Angeles County Museum of Art, 1953: Medieval and Renais¬
sance Illuminated Manuscripts, no. 39. Toledo Museum of Art, 1953:
Medieval and Renaissance Music Manuscripts, p. 17, no. 45, pi. 10.
The Cleveland Museum of Art, 1964: Twelve Masterpieces of Me¬
dieval and Renaissance Book Illumination, p. 50, no. 6, repr. [Cata¬
logue: cma Bulletin, Li (March 1964).]

bibliography: Seymour de Ricci and W. J. Wilson, Census of
Medieval and Renaissance Manuscripts in the United States and
Canada (New York, 1935), I, 774, no. 105. David Diringer, The
Illuminated Book (London, 1958), p. 385, pi. vii-8. Carl Nordenfalk,
"Maitre Honore and Maitre Pucelle,” Apollo, LXXIX (May 1964),
363 (wrongly identified with the lost Firmin-Didot manuscript).

V-15 page 198

Hours of Jeanne d’Evreux, in Latin, for Dominican use. New York,
The Metropolitan Museum of Art, Cloisters Collection.

"the Gothic Entombment by the Italo-Byzantine Lamentation with
mourners wringing their hands or covering their faces in unutterable
grief and the Virgin Mary throwing herself over the body of Christ
in a final embrace.” 7 Emile Male was the first to suggest that Pucelle’s
Lamentation resembled the panel with the same subject in Duccio’s
Maesta. Similarly, Male compared (as have others since) Pucelle’s
Crucifixion with Duccio’s. However, Pucelle makes the iconographi-
cal, expressive, and compositional borrowings entirely his own. His
tiny scenes are more tightly composed, riddled with emotional and
dramatic gestures, and often more ruggedly earthy in the depictions of
Christ’s tormentors. He also gives evidence as perhaps the first north¬
ern painter-miniaturist to utilize the iconographies in Italian art which
result from the influence of the mystical writings of the pseudo-
Bonaventura. The king kissing the Christ Child’s foot in the Adora¬
tion in the Belleville Breviary miniature is such a motif. This also
was probably the result of inspiration from Duccio.

The persistent references in the body of manuscripts from Pucelle’s
hand and his workshop to Sienese and Florentine inventions has led
to speculation as to the sources available to the master and whether he
actually traveled to Italy. He must have had access to Italian works
brought to Paris. Emile Male described a manuscript with a French
text with Sienese miniatures (Bibliotheque Nationale MS. fr. 9561)
which belonged to Jeanne d’Evreux. Furthermore, many Italian artists
came to Paris from the time of Philippe le Bel after working at
Avignon for the popes there. However, Mrs. Morand in her mono¬
graph on Pucelle has made a very convincing case for the artist’s trip
to Florence, Siena, and possibly also Rome, not only because of the
previously mentioned spatial treatment and iconographies but also
because of certain foreshortenings and specific architectural details,
including an actual representation of the Palazzo Vecchio in Florence.

Knowing only the artist’s early masterpiece, the Hours of Jeanne
d’Evreux, we can be easily ingratiated and completely won by

7 Quoted from Panofsky, p. 30; see also Emile Male, LArt religieux de
la fin du moyen age en France (Paris, 1922), p. 8, figs. 5, 6.

Pucelle’s peculiar stylistic homogeneity which is marked by an in¬
exhaustible invention, spontaneity of execution, and complete re¬
working and assimilation of some of the foremost developments in
painting both in the north and in Italy.

ex collections: Charles V, King of France. John, Duke of
Berry. Baron Louis Jules du Chatelet. Baron Edmond de Rothschild.
Baron Adolphe de Rothschild. Baron Maurice de Rothschild, Chateau
Pregny, Geneva.

bibliography: Constant Leber, Collections des meilletirs disser¬
tations, notices et traites particuliers relatifs d I’histoire de France,
xix (Paris, 1838), p. 165. Leopold Delisle, "Les Livres d’Heures de
due de Berry," Gazette des Beaux-Arts, periode 2, xxix (1884),
108, no. XXXII. Jules M. J. Guiffrey, Inventaires de due de Berry
(Paris, 1894-1896), I, 223, no. A850; II, p. 31, no. 171, p. 275, no.
1078. Leopold Delisle, Les Heures dites de Jean Pucelle, manus crit
de M. le Baron Maurice de Rothschild (Paris, 1910). Emile Male,
LArt religieux de la fin du moyen-dge en France (Paris, 1922), pp.
6-10, figs. 3, 5, 7. Rudolf Blum, "Jean Pucelle et la miniature pari-
sienne du XIV e siecle," Scriptorium, ill, (1949), 211-217. Erwin
Panofsky, Early Netherlandish Painting (2 vols; Cambridge, Mass.,
1953), pp. 29-32, 34, 43-44; notes 27 1 , 29 3 , 30 l , 31 1 , 32 2 , 34®,
44 1 , 47 3 , 62 7 , 132 4 ; pi. 3, figs. 5, 7. Louise Lefrangois-Pillon, L’art
du XIV e siecle en France (Paris, 1954), pp. 128, 131. Metropolitan
Museum of Art Bulletin, n.s. xvi (June 1958), 269-292 (includes:
"Frog in the Middle" by Richard H. Randall, Jr., "Bagpipes for the
Lord" by Emanuel Winternitz, "Medieval Armor in a Prayer
Book" by Stephen V. Grancsay). Jean Porcher, Medieval French
Miniatures (New York, 1959), p. 52, pi. liv. Kathleen Morand, Jean
Pucelle (Oxford, 1962), pp. 2-3, 9, 13-16, 18, 20-23, 29, 31, cat. no.
6, pis. viii, ix, xa and c, xi. Francis Salet, review of Jean Pucelle by
Kathleen Morand, Bulletin monumental, CXXI (1963), 119-120.
Carl Nordenfalk, "Maitre Honore and Maitre Pucelle," Apollo,
lxxix (May 1964), pp. 358, 359, 361, 362, 364. Lilian M. C. Ran¬
dall, Images in the Margins of Gothic Manuscripts (Berkeley and
Los Angeles, 1966), pp. 19, 20, 30, figs. 120, 250, 254, 277, 279, 329,
464, 510, 511, 516, 661, 693, 723.

V-l 6 page 202

Pyxis: Boite a hosties de Citeaux. Dijon (Cote-d’Or), Musee des
Beaux-Arts.

exhibitions: Paris, Trocadero, 1889: Exposition retrospective
de 1’art francais, no. 128. Paris, Petit Palais, 1900: Exposition retro¬
spective, no. 102, p. 17. London, Royal Academy of Arts, 1932:
Exhibition of French Art, 1200-1900, no. 1067. Paris, Palais Na¬
tional des Arts, 1937: Chefs d’oeuvre de Part francais, no. 1258.
Paris, Exposition international de 1937: Chefs d’oeuvre de Part
francais, no. 99.

bibliography: Catalogue du Musee des Beaux-Arts de Dijon
(Dijon, 1883), no. 1462. Emile Molinier, Les ivoires (Paris, 1896),
p. 194, repr. p. 193. Henri Chabeuf, "Deux ivoires du Musee de
Dijon," Revue de l’Art Chretien, annee 41 (1898), pp. 226-228, repr.

p. 227. A Bouillet, LArt religieux a Vexposition retrospective du
Petit Palais (Paris, 1901), p. 10, repr. opposite. Louis Gonse, Les
chefs-d*oeuvres des musees de France, sculptures, dessins, objets d'art
(Paris, 1904), p. 153. Raymond Koechlin, Les ivoires gothiques fran-
;ais (Paris, 1924), I, 138; II, no. 231; III, pi. LX. Tardy, Les ivoires,
evolution decorative du l er siecle a nos jours (Paris, 1966), p. 38
repr. Pierre Quarre, Le musee de Dijon: peintures, sculptures, objets
d'art (Dijon, 1966), repr.

V-l 7 page 204

Crosier Head with Virgin and Child with Angels and the Crucifixion.
Baltimore, The Walters Art Gallery.

ex collections: John Edward Taylor, London (Christie’s sale,
July 1, 1912, no. 82). Seligmann, New York. Henry Walters, Balti¬
more (1913).

exhibition: Paris, 1900: Exposition universelle retrospective de
l’art francais, no. 163.

bibliography: Raymond Koechlin, Les ivoires gothiques fran-
fais (Paris, 1924), ii, no. 757.

V-l 8 page 206

Mirror Back: Lady and Gentleman Playing Chess. The Cleveland
Museum of Art.

ex collections: G. Eumorfopoulous. Richard N. Zinser.
exhibitions: London, The Burlington Fine Arts Club, 1923:
Catalogue of an Exhibition of Carvings in Ivory, no. 144. London,
The Burlington Fine Arts Club, 1936: Gothic Art in Europe, no.
109, pi. xxv.

bibliography: M. H. Longhurst, "The Eumorfopoulous Collec¬
tion, Western Objects, II," Apollo, in (May 1926), 262-263, repr.
262. G. C. Williamson, The Book of Ivory (London, 1938), p. 163.
Thomas L. Cheney, "A French Ivory Mirror-Back of the Fourteenth
Century," cma Bulletin, xxviii (October 1941), 124-125.

V-l 9 page 206

Mirror Back: Siege of the Castle of Love. Seattle Art Museum.
ex collections: Baroness Lambert, Brussels. Baron Gustave
de Rothschild, Paris.

bibliography: Sherman E. Lee, "Two Medieval Ivories in the
Seattle Art Museum," Art Quarterly, xii (Spring 1949), 192-193,
repr. 188.

369

V-20 page 208

Casket. Baltimore, The Walters Art Gallery.

ex collections: Rev. John Bowie (1725-1788), Vicar of Id-
miston in Wiltshire, England. Gustavus Brander, Christchurch,
Hampshire (1787). Francis Douce (1757-1834). Sir Samuel Rush
Meyrick, Goodrich Court, Herefordshire. Frederick Spitzer, Paris.
Oscar Hainauer, Berlin. H. Economos, Paris. Daguerre, Paris. Henry
Walters, Baltimore.

exhibitions: Paris, Ancien Hotel de Sagan, 1913: Exposition
d objets d art du moyen-age et de la renaissance, pi. XLrv. Chapel
Hill, North Carolina, William Hayes Ackland Memorial Art Center,
1961: Mediaeval Art, no .19, p. 21 repr.

bibliography: John Carter, Specimen's of the Ancient Sculpture
and Painting Now Remaining in this Kingdom (London, 1780-
1787), ii, 49-50 and plate. Sir Samuel Rush Meyrick, "The Doucean
Museum," Gentleman's Magazine (April 1836). Wilhelm Bode, et
al., Die Sammlung Oscar Hainauer (Berlin, 1897), no. 142, p. 83.
Raymond Koechlin. "Quelques ivoires gothiques frangais connusant-
erieurement au XIX e siecle," Revue de l’Art Chretien, LXl (1911),
396-397, figs. 22-26. Raymond Koechlin, Les ivoires gothiques fran-
(ais (Paris, 1924), II and III, no. 1281, pi. ccxvm, CCXIX. Robert
Sherman Loomis and Laura Hibbard Loomis, Arthurian Legends in
Medieval Art (London and New York, 1938), pp. 66, 70, 76. A
McLaren Young, "A French Medieval Ivory Casket at the Barber
Institute of Fine Arts," Connoisseur, cxix (September 1947), 16.

V-21 page 210

Virgin of the Annunciation. Paris, Musee du Louvre.

ex collections: Maillet du Boullay. Felix Doisteau (until

1919).

exhibitions: Paris, 1900: Exposition retrospective de Tart fran¬
gais, no. 4641. Paris, Palais du Louvre (Pavilion de Marsan), 1904:
Exposition des primitifs frangais, no. 299. Paris, Musee de l’Orang-
erie, 1959: L’art en Champagne au moyen-age, no. 45.
bibliography: Paul Vitry, "La sculpture a l'exposition des prim¬
itifs frangais," Gazette des Beaux-Arts, xxxii, ser. 3 (1904), 157
repr. Andre Michel, Histoire de l’Art II, pt. 2 (1906), 717, fig. 419.
Paul Vitry and Gaston Briere, Documents de sculpture frangais du
moyen-age (Paris, 1906), pi. xciv, no. 3. Musee du Louvre, Cata¬
logue des sculptures, pt. I (Paris, 1922), no. 151. Jules Roussel, La
sculpture francaise, epoque gothique, II (Paris, n. d.), pi. 19, no. 5.
Marcel Aubert, Michele Beaulieu, and Andre Vigneau, Encyclopedic
photographique de Part: Sculptures du moyen-age (Paris, 1948), IV,
no. 99.

V-22 page 210

Angel of the Annunciation . The Cleveland Museum of Art.
ex collections: Maillet du Boullay(?). Baron Nathaniel de
Rothschild. Baron Alphonse de Rothschild, Vienna.
exhibitions: The Cleveland Museum of Art, 1963: Gothic Art
1360-1440, cat. no. 21 repr.

bibliography: Raymond Koechlin, "La sculpture du XIV e et
XV e siecle dans la region de Troyes," Congres archeologique de
France, session lxix (Troyes, 1902), p. 254, n. 1. Marcel Aubert,
Les Accroissements des Musees Nationaux franfais, vol. Ill: Le
Musee du Louvre en 1920 (Paris, 1922), pi. 4. Marcel Aubert and
Michele Beaulieu, Musee du Louvre, Description raisonnee des sculp¬
tures (Paris, 1950), p. 173. William M. Milliken, "A Fourteenth
Century Angel of the Annunciation,” cma Bulletin, xlii (June 1955),
118-120, repr. 114.

V-23 page 212

Virgin and Child with a Bird. The Cleveland Museum of Art.
research, it is as important to acknowledge here the existence of
identifiable regional styles and groupings of Madonna and Child
sculptures (as in Languedoc, Normandy, Lorraine, and Burgundy)
as it is necessary to observe the wealth and complexities within
groups of sculptures from the court ateliers at Paris and Saint-Denis
in the Ile-de-France. This latter area of royal domain must have been
especially energetic, sending out artists or their productions, thereby
making more widespread its inspirational dominance, and attracting
to it (sometimes by royal command) artists from the provinces and
beyond, e.g., from the Hainault, Brabant, and other parts of present-
day Belgium. These very regions to the north provided sources of new
inspiration within the royal ateliers in the Ile-de-France, Jean Pepin de
Huy in the first half of the fourteenth century, and Andre Beauneveu,
native of Valencienne, and Jean de Liege in the second half. 3 The
impact of such northern artists was eventually felt in other court
centers: Beauneveu, a traveling artist par excellence, in Bourges, Me-
nun-sur-Vevre in Berry, and Claus Sluter at Dijon in Burgundy (see
cat. nos. VI-21, 22).

It is against this complex background of developments in time
and space that the two fourteenth-century Virgins discussed here
must be considered (for the other see cat. no. vi-8). The smaller
sculpture, the marble Virgin and Child with a Bird, is important
beyond its intrinsic value in the fact that it is one of a dozen or more
marble Virgins in much the same general style and datable from the
middle of the fourteenth century through the end of the third quarter.
An example in the church at Saint-Benoit-sur-Loire is so close to the

3 See Marguerite Devigne, La Sculpture mosatie du XII e au XVl e siecle
(Paris and Brussels, 1932), pp. 68-77. Frangoise Baron, "Un artiste du
XIV e siecle: Jean Pepin de Huy, problemes d’attribution,” Bulletin de la
Societe de Phistoire de Part francais, Annee I960 (Paris, 1961), pp. 89-
94. Pierre Pradel, "Les tombeaux de Charles V," Bulletin monumental,
Cix (1951),273-296.

370

Cleveland group that it might be considered as the product of the
same workshop if not the same hand. A comparison of both these
works with a possible prototype in the much larger marble Virgin,
about sixty-five inches in height and now in the Church of Magny
(Seine-et-Oise), reveals certain general similarities in the disposition
of the draperies, especially in the apron-like arrangement of the
mantle pulled across the front, the long folds below, the disposition
of the feet, and the way the half-nude Christ Child is held. 4 The
Magny Virgin is a much more imposing work, and several scholars
have suggested that possibly it was a second donation of Jeanne
d’Evreux to Saint-Denis because of its resemblance to the smaller
silver-gilt Virgin now in the Louvre. This might imply that the silver-
gilt Virgin may have had great influence via this large marble replica,
which in turn inspired the other examples, especially those in marble
which probably were mostly carved in the Ile-de-France. 5 Other
marbles which appear later in Brabant and Hainault suggest that the

4 For the Virgin at Magny (Seine-et-Oise), see Marcel Aubert, La sculp¬
ture frattfaise au moyen-dge (Paris, 1946), p. 333.

5 In addition to the Cleveland and Saint-Benoit examples, the others which
may be considered include: Virgin by Evrard d’Orleans, 1341, at Langres
(Haute Marne) Cathedral; Virgin at Saint-Denis; Virgin at Couilly
(Seine-et-Marne); Virgin in the Metropolitan Museum, New York;
Virgin at Saint-Germain-des-Pres, Paris; Virgin formerly in the Gamier
Collection, Paris; Virgin in the Church of Neuille Pont-Pierre; Virgin in
the Church of Saint Laud, Angers.

CHAPTERVi International Style
VI-1 page 218

Mouton d'or, Jean le Bon. The Cleveland Museum of Art.
exhibition: The Cleveland Museum of Art, 1964: Year in Re¬
view, no. 18, repr. (Catalogue, cma Bulletin, Li [December 1964]).
bibliography: H. Hoffman, Le monnaies royales de France
(Paris, 1878), no. 3. A. Blanchet and A. Dieudonne, Manuel de
numismatique francais (Paris, 1916), II, 255, 258-259.

VI-2 page 218

Leopard d’or, Edward III. The Cleveland Museum of Art.
exhibitions: The Cleveland Museum of Art, 1963: Gothic Art
1360-1440, no. 38, repr. The Cleveland Museum of Art, 1964: Year
in Review, no. 17 (Catalogue, cma Bulletin, Li [December 1964]).
bibliography: Robert Friedberg, Gold Coins of the World, COO-
1938 (New York, 1958), no. 7. Herbert Allen Seaby and Peter John
Seaby, Standard Catalogue of the Coins of Great Britain and Ireland
(London, I960), no. 2903.

influence of a Jeanne d'Evreux type of the Virgin had spread north¬
ward beyond the royal domain where eventually the image achieved
a more intimate and animated embodiment. 6

ex collections :Marcel Cottreau. John L. Severance, Cleveland.
bibliography: Catalogue of the John L. Severance Collection,
Bequest of John L. Severance (Cleveland, 1942), no. 17.

6 The northern examples include: Virgin from Arbre, Musee Royaux d’art
et d’histoire, Brussels; Virgin in the Museum at Diest; Virgin at Antwerp
Cathedral; Virgin in the museum at Lille.

V-24 page 214

Passion Diptych. The Toledo Museum of Art.
ex collections: Julius Campe, Hamburg. Emile Baboin, Lyon
(catalogue by Raymond Koechlin, no. 19). Frederic Spitzer (sale,
Paris, 1893, lot 96, pi. IV).

exhibition: Paris, 1900: Exposition retrospective de Part fran-
cais a 1800, cat. no. 125.

bibliography: Raymond Koechlin, Les tvoires gothtques fran-
fais (Paris, 1924), I, 286, 291; II, no. 792. La Collection Spitzer;
Antiquite-Moyen-dge-Renaissance (Paris, 1890), I, 50.

VI-3 page 220

Missal, in Latin, for Paris use. The Cleveland Museum of Art.
celle’s delicate elegance and injects new life in place of the waning
Pucelle tradition of his own day.

The first gathering of four folios of especially soft vellum at the
beginning of the manuscript was probably added upon its completion
for this Missal in the early fifteenth century. Additional offices are
found here, including a special mass pro seditione scismatis compositi
(folio 2 recto); therefore, these pages must have been completed
during the time of the Schism of the Papacy and before 1417. The
first leaf (folio 1 recto) is adorned by two exquisite miniatures which
are datable also about this time or as early as 1410.

Solomon Rheinach’s attribution to Malouel is no longer held. How¬
ever, the large tondo commissioned for the Chartreuse de Champ-
mol near Dijon (now in the Louvre) showing the Trinity with
Mourning Angels, Virgin, and Saint John may very possibly be the
inspiration for the Trinity miniature. More recent opinion has as¬
signed the miniatures to the Boucicaut Master, after his Book of
Hours in the Musee Jacquemart-Andre (cat. no. vi-29). But Dorothy
Miner has suggested a comparison with the youthful works of the
Bedford Master, who is so named after his mature work as the head

371

of a large atelier, in a Breviary (Paris, Bibl. Nat. MS. lat. 17294)
and a Book of Hours (London, B. M. Add. MS. 18850) completed
between 1424 and 1435 for John, Duke of Bedford, Regent of France,
and his wife. One such comparison may be made with an exquisite
miniature by the youthful Bedford Master in a Book of Hours lent
from the Walters Art Gallery (see cat. no. vi-27, folio 37). Similari¬
ties of drawing, coloring, and modeling are such that a tentative
proposal may be made for the Bedford Master as author of the two
miniatures on the first folio of the Gotha Missal. In any case, each
of these miniatures is a masterpiece of the International Style in its
own right. The Trinity with mourning angels, Virgin, and Saint John
is marked by an indefinable pathos combined with jewel-like colors,
intense blue sky, and crimson seraphim. The figures are white, deli¬
cately modeled in grisaille, with tints of pink in the flesh and bright
red for the blood of Christ. Despite the presence of a multitude of
angels in the background, one has the feeling of an intimate scene
of very private sorrow and tragedy. The mood changes abruptly in
the adjacent miniature, although the actual technique is very similar.
Broad areas of a few intense colors are broken up into smaller units
—the red and gold of Christ’s banner, the green of the tree, and the
small tesselated blues, reds, and gold of the background. Because of
this, the chief emphasis is on dramatic movement, the stride and sweep
of the Risen Christ and the recoiling of the onlooking soldiers.

nx collections: Library of the Dukes of Gotha, Germany. Earl
of Denbigh, England (sale: Sotheby and Co., London, April 3, 1950,
lot 1, repr.). Apsley Cherry-Garrard and Mrs. Gordon Mathias,
England (sale: Sotheby and Co., London, June 5, 1961, lot 177, repr.,
fol. 1 lr in color). H. P. Kraus, New York.

exhibitions: The Cleveland Museum of Art, 1963: Gothic Art
1360-1440, cat. no. 11, repr. in color.

bibliography: Rudolph Ehwald, "Uber eine franzosische Mis-
salhandschrift des XIV. Jahrhunderts,” Beitrage zum Bibliotheks —
und Bucktvesen (Paul Schivenke geuidmet) (1913), pp. 67-75,
pi. 6. Solomon Reinach, in Revue archeologique, iv, ser. vil (1906),
351-352. Catalogue 100 (New York: H. P. Kraus, 1962), pp. 32-39
(based on the findings of Harry Bober), pis. xxiv-xxvii and four
color illustrations on pp. 33, 36-38. William D. Wixom, ' A Missal
for a King,” cma Bulletin, I. (September 1963), 158-173, 186-187,
repr. in color. Harry Bober, "Medieval Art at Cleveland,” Apollo,
lxxviii (December 1963), repr. in color on cover, mentioned on p.
456. John Beckwith, "A Rhenish Ivory Noli Me Tanger e,” Victoria
and Albert Museum Bulletin, II (July 1966), 113, 114, n.5.

VI-4 page 222

Miter. Paris, Musee National des Thermes et de l’Hotel de Cluny.
exhibition: Paris, Palais du Louvre et Bibliotheque Nationale,
1904: Exposition des primitifs francais, no. 2.

bibliography: Henri Bouchot, "Le ’Paremont de Narbonne’
au Louvre (1374), le peintre Jean d’Orleans a Paris,” Gazette des

Beaux-Arts, Y Per., xxxi (1904), 7. Paul Vitry, "L’Exposition des
Primitifs francais,” Les Arts, in (April 1904), 4 repr., mentioned
p. 15. Joseph Braun, Die liturgiscbe Gervandung im Occident und
Orient (Freiburg im Breisgau, 1907), p. 479, fig. 236. Gaston Migeon,
Les arts du tissu (Manuels d'histoire de lart) (Paris, 1929), p. 175.
P. A. Lesmoisne, Gothic Painting in France, Fourteenth and Fif¬
teenth Centuries, trans., Ronald Boothroyd (New York, n. d.),
p. 38, pi. 16. Charles Jacques Sterling, La Peinture franfaise, les
primitifs (Paris, 1938), fig. 19, p. 29. William D. Wixom, "The
Hours of Charles the Noble,” cma Bulletin, lii (March 1965), 79,
fig. 46.

VI-5 page 224

Missal, in Latin, for Rome use. Cambrai (Nord), Bibliotheque mu-
nicipale, MS. 150.

exhibitions: Paris, Bibliotheque Nationale, 1955: Les manu-
scrits a peintures en France du XIII e au XVI e siecle, no. 141.
bibliography: Achille Durieux, "Les miniatures des manuscrits
de la bibliotheque de Cambrai,” Memoires de la Societe d’emulation
de Cambrai (June 27, I860), part I, pp. 309-310. Abbe V. Leroquais,
Les sacramentaires et les missels manuscrits (Paris, 1924), ii, 318,
no. 491. Dominguez-Bordona, Manuscritos con pint nras (1933), I,
no. 36. Jean Porcher, Medieval French Miniatures (New York,
1959), p. 70, fig. 77.

VI-6 page 226

Honrs. The New York Public Library.

nunciate Virgin, in a deep blue mantle lined with brilliant orange,
confronts and contrasts with the angel, clad in pale lavender tunic,
brilliant orange mantle, and pale green wings. The whole scene is set
against a russet-red background with a rinceau of gold. The facing
miniature of the same format continues the brilliant blue mantle of the
Virgin, changing the color of the lining to the same pale green of the
angel’s wings on the facing page. The Christ Child is the focal point
because his tunic is the only area colored with the brilliant orange.
The kneeling figure at the left has a gown of pale lavender purple.
Viewed as a vivid and exciting color ensemble as well as from the
significance of their subjects, these two miniatures are a fitting fron¬
tispiece to the text of the Officium which follows.

Another striking double-page frontispiece depicts an unusual var¬
iation of the Last Supper, in which a mandrake, familiar from cen¬
turies of medieval herbals, is held tightly in the center of the table by
two of the apostles. The facing miniature depicts the Kiss of Judas
or the Betrayal of Christ in the Garden. Here we see a cluster of
modish soldiers in the latest pinch-waisted armor with chain mail
collars and skirts and handsomely shaped bascinets (one with a
chapel-de-fer). In both of these miniatures, as in all of the others.

372

color plays a major role in composition and with expressive purpose.
The color emphasis is generally on lavenders, blue, pale to olive
greens, brilliant orange, set off frequently by burnished gold. The
stippling of the latter adds to the flickering richness of the whole.

The style of the miniatures and historiated initials is a very dis¬
tinctive one, not easily related to the more familiar manuscript pro¬
ductions in France. The flesh tones recall Sienese painting with the
green-tan underground coming through the superimposed whites and
pinks. The very dramatic gestures, the intensity of the color con¬
trasts verging on stridency, and a peculiar vivacity of angular move¬
ment which pervades many of the miniature scenes all set this work
apart from the mainstream of French illumination. Certain French
features are felt, as in the delicate, spiky ivy borders as well as the
general format. Even northern French marginal figures and other
creatures appear at the end of a few of the stems. However Italian-
ate some features of the miniatures may be, the manuscript cannot
be assigned in that direction.

According to Dorothy Miner, this manuscript is one of a rare
small group noticed by Otto Pacht and the late Jean Porcher which
can be given to Avignon. 1 One of these is a Book of Hours in the
Walters Art Gallery (W.237); others are in the libraries of Vienna,
Madrid, Seville, Cambrai (cat. no vi-5), Paris, and one in the Ca¬
thedral of Narbonne. Miss Miner tells us that the Missal in Madrid
(MS. E e 27), which in her opinion is especially close to the Spencer
manuscript, is in fact a documented work which bears "a contemp¬
orary inscription in Catalan recording that it was made in Avignon
in 1409 at the order of Bertram de Casals, as a gift to the Confra¬
ternity of La Sainte-Croix in Avignon.” Compositions and certain
details relate the Madrid and Seville manuscripts to another work,
a Missal, in Paris (Bibl. Nat. MS. lat. 848) which seems to have been
done in Avignon for Robert of Geneva, the antipope Clement VII
(d. 1394). While Miss Miner feels that this latter manuscript is a
little removed from the group, she states that Porcher had suggested
that they were all made in Avignon, possibly by Spanish or Catalan
artists "who worked especially on commissions of foreigners.”

The localization of the Spencer Offlcium at Avignon can be under¬
scored by comparison with several other manuscripts published in
1907 by H. Labande. 2 The parallels are not in the figure painting
style, as the present manuscript is greatly superior in quality. Instead,
we may observe a community of decorative preferences found in
the Labande group and the Spencer manuscript which include many
details of the border decorations, the stems of the initials, and the
gold rinceaux on color in the backgrounds of the miniatures. This
similarity suggests the possibility that the Spencer Hours is the
product of a collaboration in which Parisian and north French dec¬
orators have made the settings for a southern artist’s figural com¬
positions. Whether this southern artist is indeed Catalan or Langue-
docian is perhaps a still-unsettled question, a problem which also
plagues a number of other works including at least one imposing

1 The International Style (Baltimore: The Walters Art Gallery, 1962),
p. 67.

2 H. Labande, ”Les miniaturists Avignoais,” Gazette des Beaux-Arts, 3

Per., xxxvn (1907), 236-240, 289-295; compare illustrations on pp.
237, 239, 289, 294.

panel painting in the International Style, the enigmatic Saint Bishop
with a Donor from Toulouse in the Cleveland Museum. 3
ex COLLECTION: Harry Levinson, New York (until 1945).
exhibition: Oberlin, Allen Memorial Art Museum, I960: Neth¬
erlandish Book Illumination, no. 1.

bibliography: The International Style (Baltimore: The Walt¬
ers Art Gallery, 1962), p. 67. W. H. Bond and C. U. Faye, Supple¬
ment to the Census of Medieval and Renaissance Manuscripts in the
United States and Canada (New York, 1962), p. 333, no. 49*

3 Robert Mesuret, ”Les primitifs du Languedoc,” Gazette des Beaux-Arts,
6 Per., lxv (1965), 2, 11 (no. 31, fig. 12), and 30. cma acc. no. 27.197.
Coincidentally, there are several points in common between this larger
work and the Spencer manuscript in the use of lavenders, gold, the
Sienese-like flesh painting, the treatment of space, and the character of
the kneeling owner or donor.

VI-7 page 228

Saint Christopher and the Christ Child. New York, The Metropolitan
Museum of Art.

ex collections: Charles J. Wertheimer, London. J. Pierpont
Morgan, New York.

bibliography: Marc Rosenberg, Der Goldschrniede Merksei-
chen (Frankfurt-am-Main, 1911), p. 272, no. 4472. Joseph Breck
and Meyric R. Rogers, A Handbook of the Pierpont Morgan Wing,
The Metropolitan Museum of Art (2nd ed.; New York, 1929), p.
120, fig. 68. Narbonne, Palais des Archeveques, Musee des Beaux-
Arts de Narbonne: Tresors d’orfevrerie des eglises du Roussillon et
du Litngttedoc Mediterraneen (1954), cat. no. 29 (replica at Church
at Lasbordes [Aude]).

VI-8 page 230

Madonna and Child. The Cleveland Museum of Art.
exhibitions: The Cleveland Museum of Art, 1962: Year in
Review, no. 32, repr.

bibliography: William D. Wixom, "A Fourteenth Century
Madonna and Child,” cma Bulletin, L (January 1963), 14-22, repr.

VI-9 page 232

Window Panels with Prophets Isaiah, David, Daniel and Micah.
Bourges (Cher), Depot de la Cathedrale de Saint Etienne.
EXHIBITIONS: Rotterdam, 1952: Kleurenpracht uit Franse Kathe-
dralen, no. 14. Paris, Musee des arts decoratifs, 1953: Vitraux de
France du XI'* au XVL siecle, no. 36, pi. 24. Vienna, Kunsthistor-
isches Museum, 1962: Europaische Kunst um 1400, nos. 215-218.
bibliography: J. Verrier, La Cathedrale de Bourges et ses vi¬
traux (Paris, 1843), pp. 16, 17. A. des Meloizes, Les Vitraux de la

373

cathedrale de Bourges posterierus aux XIII e siecle (Lille, 1891-
1894), pp. 2Iff. A. Champeaux and P. Gauchery, Les Travaux d’art
execute pour Jean de France due de Berry (Paris, 1894), pp. 114-118.
Emile Male, "Le Vitrail francais au XV e et au XVI e siecle,” His -
toire de lart, ed. Andre Michel (Paris, 1911), iv, 2 e partie, pp. 775ff.
Marcel Aubert, Le Vitrail en France (Paris, 1946), pp. 53, 54. James
J. Rorimer and Margaret B. Freeman, “The Nine Heroes Tapestries
at the Cloisters,” Metropolitan Museum of Art Bulletin, VII (May
1949), repr. 256, 257, discussed 255, 258. A. Boinet, La Cathedrale
de Bourges (Paris, 1952), p. 87. Jean Lafond, "De 1380 a 1500,
L’Apparition du style nouveau,” Le Vitrail francais (Paris, 1958), p.
186, fig. 141.

VI-10 page 234

Two Kneeling Carthusian Monks. The Cleveland Museum of Art.
lin records in one of his engravings a sculptural ensemble in the court
facade of the Chartreuse in which are shown five Carthusian monks
kneeling in adoration before Saint Louis, who presents them to the
Virgin. (Saint Louis had given the buildings, formerly the Chateau of
Vauvert, to the Carthusians in the mid-thirteenth century.) A second
relief, also reproduced by Millin, was in the cloister. It contained four¬
teen kneeling monks, hands clasped in prayer to the Virgin. This relief
commemorated the addition of fourteen cells to the Chartreuse.

The third possibility is that the two Monks may have been con¬
nected with a tomb. In both size and posture, they suggest a pair set
on brackets at the foot of the tomb of Pierre de Navarre (d. 1412)
and his wife Catherine d’Aencon which was in the Sanctuary of the
Church of the Chartreuse de Paris. This is recorded in the illustration
of Roger de Gaignieres (1642-1715). However, the kneeling monks
depicted by Gaignieres hold opened books in their hands and do not
therefore agree in this respect with the more prayerful attitude of the
preserved sculptures.

ex collections : Octave Homberg, Paris. Jacques Seligmann and
Co., New York.

exhibition: Baltimore, The Walters Art Gallery, 1962: The
International Style, no. 92 repr.

bibliography: Gaston Migeon, "Collection Octave Homberg,”
Les Arts, in (December 1940), 36. Colin Eisler, ”Le gothique inter¬
national,” Art de France (1964), p. 289 repr. William D. Wixom,
cma Bulletin, liii (November 1966).

VI-11 page 236

Death, Assumption and Coronation of the Virgin. Paris, Musee du
Louvre.

exhibitions: Paris, Bibliotheque Nationale et Palais du Louvre
(Pavilion de Marsan), 1904: Exposition des Primitifs francais, no.
18. London, Royal Academy of Arts, 1927: Catalogue of the Loan Ex¬
hibition of Flemish and Belgian Art—A Memorial Volume, pp. 184-
185, no. 513. London, Royal Academy of Arts, 1933: Commemorative
374

Catalogue of the Exhibition of French Art, 1200-1900, p. 118, no.
530, pi. CXLVI. Brussels, Palais des Beaux-Arts, 1936-1937: Kunst
en Kennis de gawd van gent, no. 1, pi. 1. Paris, Palais National des
Arts, 1937: Chefs d’oeuvre de Fart francais, no. 427. Paris, Cabinet
des Dessins du Louvre, 1957: Enlumieres et Dessins francais du
XIII e au XV e siecles, no. 17. Vienna, Kunsthistorisches Museum,
1962: Europaische Kunst um 1400, cat. no. 250, pi. 124.
bibliography: Paul Durrieu, "Dessin du Musee du Louvre at-
tribue a Andre Beauneveu,” Fondation Piot Monuments et Memoires,
1 (1894), 179-202, pis. xxv-xxvi. R. de Lasteyrie, "Les Miniatures
d’Andre Beauneveu et de Jacquemart de Hesdin,” Fondation Piot
Monuments et Memoires, ill (1896), 71-80. Jean Guiffrey and
Pierre Marcel, Inventaire general des dessins du Musee du Louvre et
du Musee de Versailles (Paris, 1907), 1 , no. 215, bis. Jean Guiffrey
and Pierre Marcel, Inventaire general des dessins du Musee du Louvre
et du Musee de Versailles (Paris, 1933), I, no. 215 bis. Pierre Lavallee,
Le Dessin francais da Xlll e au XVI e siecle (Paris, 1930), p. 60, no.
14, pi. VII. Paul Andre Lemoisne, La Peinture francaise de I'epoque
gothique (Paris, 1931), p. 53, pi. 30. Paul Andre Lemoisne, Gothic
Painting in France, trans. Ronald Boothroyd (New York, n. d.), p.
61, pi. 30. Charles Jacques [Sterling], Les Peintures du Moyen-Age
(Paris, 1941,), Repertoire A no. 7, pi. viii. Pierre Lavallee, Le Dessin
francais (Paris, 1948), pp. 12-13. Grete Ring, A Century of French
Painting (London, 1949), no. 11, pi. 8. Ruth M. Tovell, Flemish
Artists of the Valois Court f (Toronto, 1950), pp. 32, 69, pi. 19.
Louise Lefrancois-Pillion and Jean Lafond, LArt du XIV e siecle en
France (Paris, 1954), pp. 113-114.

VI-12 page 238

Calvary with a Carthusian Monk. The Cleveland Museum of Art.
very closely to the Chalandon and Cleveland panels. The meas¬
urements as well as the subject are exactly appropriate for the small
altars in the monks’ cells. Although the oak panels were delivered in
late 1388, the canvas in the spring of 1389, and the gold leaf was
bought during the summer of the same year. Sterling points out that
the actual painting could not have been begun before autumn of 1390,
for in August of that year Jean de Beaumetz bought the "chalk” to
prepare the plaster ground for the panels. This lapse of time may be
explained, as suggested by Sterling, by the fact that the artist was
busily engaged by the Duke at Argilly, Germoles and the Duke’s
private chapel at Champmol. Girard de la Chapelle played an impor¬
tant role in the preparation of the panels as documented by the time
for which he was paid, and Jehan Gentil was primarily occupied with
grinding the colors and is recorded elsewhere as having performed the
same tasks as Girard for less wages. As Jean de Beaumetz was absent
from December 1 of 1390 to October 31 of 1391, Sterling assumes that
Girard must have carried out some of the painting, assisted in part by
Jehan Gentil. Sterling observes from the records that the cell paintings
must have been finished in 1395. Jean de Beaumetz was occupied
upon his return with decorating the main chapel and the Duke’s pri¬
vate chapel at Champmol, where still another assistant collaborator,
Guillaume le Maire de Francheville, is mentioned.

While the possible participation in the painting of the cell panels
by Girard de la Chapelle and Jehan Gentil may explain some of the
differences in the two extant works, it seems likely that the master
himself made the preliminary designs and also largely completed the
last stages of painting. In essence, both the Chalandon and the Cleve¬
land panels might be considered the work of the master and his
workshop, ordered in 1388, begun in 1390, laid aside, and then
completed by 1395.

ex collections: La Chartreuse de Champmol, near Dijon.
Private collection in the vicinity of Dijon. Wildenstein & Co., New
York.

exhibition: The Cleveland Museum of Art, 1966: Golden An¬
niversary Acquisitions, no. 55, repr. (Catalogue, CMA Bulletin, Lin
[September 1966].)

bibliography: Charles Sterling, "Oeuvres retrouvees de Jean de
Beaumetz, Peintre de Philippe le Hardi," Aiusees Royaux des Beaux-
Arts Bulletin, IV (1955), 57-81 passim, repr. 59. La Chartreuse de
Champmol, Foyer d’art au temps des Dues Valois (Dijon, I960), pi.
xx. Millard Meiss and Colin Eisler, "A New French Primitive,"
Burlington Magazine, Cil (I960), 234, 236. Michel Laclotte, "Pein-
ture en Bourgogne au XV e siecle," Art de France, I (1961), 289, n.
4. Albert Chatelet, French Painting: from Fouquet to Poussin (Geneva,
1963), p. 15. R. Guilly, Kindlers Malerei Lexikon (Zurich, 1964), I,
257, repr. 256. William D. Wixom, "The Hours of Charles the
Noble," cma Bulletin, lii (March 1965), 83, n. 58. Henry S.
Francis, "Jean de Beaumetz: The Calvary with a Carthusian Monk,"
CMA Bulletin, liii (November 1966).

VI-13 page 240

Calvary Group with the Fainting Virgin. Louviers (Eure), eglise
de Notre-Dame.

exhibitions: Paris, Musee de Trocadero et Sainte-Chapelle,
1934: La Passion du Christ dans 1’art francais, no. 52, repr. Paris,
Petit Palais, 1950: La Vierge dans 1’art francais, no. 172, pi. 29.
bibliography: Abbe R. Delamare, Louviers-le-Franc., ses eglises,
son musee (n.d.).

VI-14 page 242

The Annunciation. The Cleveland Museum of Art.
ex COLLECTIONS: Duke of Anhalt, Dessau (1863-1925). C. A.
de Burlet, Berlin. Arthur Sachs, New York and Santa Barbara,
California (1926-1954).

exhibitions: Cambridge, Massachusetts, Fogg Art Museum,
1927. New York, J. Seligman and Company, 1927: Religious Art,
no. 1. New York, Kleinberger Galleries, 1927: French Primitives, no.
4. Detroit Institute of Art, 1928: French Gothic Art, no. 1. London,
Royal Academy, 1932, no. 1 (Commemorative Catalogue, no. 6).
Santa Barbara Museum of Art, 1946: Collection Arthur Sachs. Paris,

Petit Palais, 1950: La Vierge dans Part francais, no. 6. Pittsburgh,
Carnegie Institute, 1951: French Painting 1100-1900, no. 26 repr. The
Cleveland Museum of Art, 1963: Gothic Art 1360-1440, no. 19 repr.
bibliography: G. Parthey, Deutscher Bildersaal (Berlin, 1863),
I, 216 (as Duccio di Buoninsegna). Friedrich Winkler, "Ein un-
bekannte franzosisches Tafelbild," Belveder, XI (1927), pp. 6ff
W. R. Valentiner, Unknown Aiasterpieces (New York, 1930), I, 70.
P. A. Lemoisne, Gothic Painting in France (Florence, 1931), pi. 26.
L.-H. Labande, Les primitijs francais: peintres et peintres-verriers de
la Provence Occidental (Marseilles, 1932), I, 220. David M. Robb,
"The Iconography of the Annunciation in the Fourteenth and
Fifteenth Centuries," Art Bulletin, xviil (1936), 490. Germain Bazin,
La peinture franfaise des origines an XVl e siecle (Paris, 1937), p. 7.
Jacques Dupont, Les primitijs francais, 1350-1500 (Paris, 1937), p.
23. Charles Jacques Sterling, La peinture jrancaise: les primitijs
(Paris, 1938), p. 36, note 20. Charles Jacques Sterling, La peinture
franfaise: les peintnres du moyen-age (Paris, 1941), Rep. A, p. 3,
no. 6, pi. X. Grete Ring, A Century of French Painting, 1400-1500
(London, 1949), pp. 24, 193 (no. 16). Erwin Panofsky, Early
Netherlandish Painting (Cambridge, Mass., 1953), I, 82. Jacques
Dupont, The Great Centuries of Painting: Gothic Painting (Geneva,
1954), p. 126. Henry S. Francis, "A Fourteenth Century Annuncia¬
tion," cma Bulletin , xi.ii (December 1955), 215ff. (reprinted in Art
Quarterly , xix [1956], 85ff.). Friedrich Winkler, review of E.
Panofsky, Early Netherlandish Painting , Kunstchronik , VIII (1955),
12. Otto Pacht, "Panofsky’s 'Early Netherlandish Painting’—I,"
Burlington Magazine , xcvm (1956), 113. The International Style:
The Arts in Europe around 1400 (Baltimore: The Walters Art
Gallery, 1962), p. 24. Harry Bober, "Medieval Art in Cleveland,"
Apollo , lxxviii (1963), 456. A. Chatelet and J. Thuillier, French
Painting from Fouquet to Poussin (Geneva, 1963), p. 15. Colin
Eisler, "Le Gothique International," Art de France , iv (1964), 290.
R. Guilly in Kindle/s Malerei-Lexikon (Zurich, 1964), I, 201.
Mojmir Frinta, "An Investigation of the Punched Decoration of
Medieval Italian and Non-Italian Panel Paintings," Art Bulletin,
xlvii (1965), 264.

VI-15 page 2 44

Virgin and Child Enthroned. New York, Pierpont Morgan Library.

VI-16 page 246

A\editation on the Passion. Baltimore, The Walters Art Gallery.
ex collections: Didier-Petit(? ). Baron de Theis (1765-1842),
(sale, Paris May 6-13, 1874). Henry Walters (after 1922).
exhibitions: Paris, Exposition 1867. London, South Kensington
Museum, 1876: (Westwood, A Descriptive Catalogue of the Fictile
Ivories in the South Kensington Museum , London, 1876, p. 402).
Baltimore, The Walters Art Gallery, 1962: The International Style,
no. 117.

375

bibliography: Raymond Koechlin, "Quelques ateliers d'ivoires
francais, I,” Gazette des Beaux-Arts, xxxv (1906), 6lflf. Raymond
Koechlin, "Les rctables fran<;ais en ivoires du commencement du
XIV e siecle,” Fondation E. Plot, Monuments et Memoires, xm
(1906), 67fT. Raymond Koechlin, Ivoires (Paris, 1924), I, 306, 308
with note 1 (where author recants his views of 1906).

VI-17 page 248

Grille. Rouen (Seine-Maritime), Musee des Antiquites de la Semc-
Inferieure.

ex collection: Garden, rue du Nord, Rouen (until 1866).
exhibition: Rouen, Musee des Beaux-Arts, 1963: Exposition du
IXe centenaire de la cathedrale dc Rouen.

bibliography: Precis Analytique de lAcadernie de Rouen
(Rouen, 1850), pp. 207, 217. Cochet, Registre Capitulaire (1868),
no. 164. Catalogue (Rouen, 1868), p. 129, no. 90. Cochet, Registre
Capitulaire (1875), no. 114. Catalogue (Rouen, 1875), p. 175, no.
100 .

VI-18 page 250

Table Fountain. The Cleveland Museum of Art.
exhibitions: The Cleveland Museum of Art, 1936: Twentieth
Anniversary Exhibition, no. 15. Baltimore, The Walters Art Gallery,
1962: The International Style, no. 126 repr. (catalogue contains an
especially full discussion.). The Cleveland Museum of Art, 1963:
Gothic Art 1360-1440, no. 33 repr.

bibliography: William M. Milliken, "A Table Fountain of the
Fourteenth Century/’ Cma Bulletin, XII (March 1925), 36-39, repr.
on cover. William M. Milliken, "Early Enamels in The Cleveland
Museum of Art,” cma Bulletin , xm (April 1926), 75 repr. Con¬
noisseur , lxxvi (October 1926), 69, 70 repr. E. von Basserman-
Jordan, The Clock of Philip the Good of Burgundy (Leipzig, 1927),
p. 39, figs. 35, 36. Henry S. Francis, "A Gothic Table Fountain and
an Engraved Design for One by the Master W," The Print Collector's
Quarterly , xxvi (April 1939), 224-237. Henry S. Francis, "A Gothic
Fountain Design by the Goldsmith-Engraver Monogrammist W,"
cma Bulletin , xxvi (July 1939), 120, 118 repr. N. M. Penzer, "The
Great Wine Coolers—II," Apollo , lxvi (September 1957), 40, 41,
fig. ii. Silvio A. Bedini, "The Role of Automata in the History of
Technology," Technology and Culture , v (Winter 1964), 33, fig. 7.
Colin Eisler, "Le gothique international," Art de France , iv (1964),
288-290, repr.

VI-19 page 252

Twelve Aiedallions. The Cleveland Museum of Art.
ex collections: G. J. Demotte, New York. Joseph Brummer,
New York.

37 6

exhibitions: Detroit Institute of Arts, 1928: French Gothic Art,
cat. no. 75, repr. The Cleveland Museum of Art, 1947: Exhibition of
Gold. Bruges, Musee Communal des Beaux-Arts, I960: Le Siecle des
Primitifs Flamands, no. 113, repr. Detroit Institute of Arts, I960:
Flanders in the Fifteenth Century: Art and Civilization, no. 128,
repr. Seattle, 1962: Masterpieces of Art Exhibition, Century 21 Expo¬
sition, no. 9, repr. Baltimore, The Walters Art Gallery, 1962: The
International Style, no. 127, repr. The Cleveland Museum of Art,
1963: Gothic Art 1360-1440, no. 35 (Catalogue, cma Bulletin, L
[September, 1963], 175, 205).

bibliography: La Perle (September 10, 1928). Art News (De¬
cember 1, 1928), p. 18. William M. Milliken, cma Bulletin, xxxiv
(November 1947), repr. 228. William M. Milliken, "The Art of the
Goldsmith," Journal of Aesthetics and Art Criticism, VI (June 1948),
321, fig. 6. Theodor Muller and Erich Steingraber, "Die franzosische
Goldemailerplastik um 1400," Miinchner Jahrbuch der bildenen
Kunst, v (1954), 76, no. 26, fig. 66 (det.). cma Bulletin, xlv (March
1958), repr. 57.

VI-20 page 254

Kneeling Prophet. The Cleveland Museum of Art.
gether with four seated Evangelists. A small replica made about
thirty years later is preserved at Saint Omer. However, the Well of
Moses is even more closely allied from an iconographical point of
view with the Old Testament prophets—Moses, David, Jeremiah,
Joshua, Zachariah, Daniel, and Isaiah—filling the six niche-like set¬
tings of a monumental socle for a Crucifixion group above. This pro¬
gram has been related to a contemporary mystery play, the Trial of
Jesus, in which each of the prophets pronounces his verdict of death
in spite of the Virgin’s pleading. Parts of the text of this play appear
on the scrolls which they hold. Could this poignant drama also be re¬
flected in the gilt prophets? We will probably never know. It is also
possible that they supported some other group, such as the Virgin and
Child. Such a group, either with the Crucifixion or with the Virgin and
Child, might have been intended for devotional use. However, it is
well to keep in mind the admixture of the pious and the pleasurable
always with us and in this regard one might cite the table fountain
once owned by Charles v and now lost. It is described in the inventory
as: ". .. une fontaine de jouvent d'or, ou est ung chapiteau a six
pilliers sur ung pie, et sont prophetes autour, et a /environ du pie de
ladicte fontaine, garny de balaiz, saphirs, esmeraudes et rubiz d’Alix-
andre, et au chef dessus est Nostre Dame et deux angeloz; pesant
n m v estellins." 2

ex collection: Herbert Bier, London.

bibliography: William D. Wixom, cma Bulletin, liii (No¬
vember 1966).

2 Jules Labarte, Inventaire du Mobilier de Charles V, roi de France (Paris,
1S79), p. 284, item 2654.

VI-21 page 256

Three Mourners from the Tomb of Philip the Bold. The Cleveland
Museum of Art.

EX collections: M. M. Hocquart and Edouard de Broissia,
Dijon, 1825. M. Legay, Nancy, 1876. Baron Arthur de Schickler,
Martinvast, Normandy. Clarence Mackay, New York, 1939. Leonard
C. Hanna, Jr., Cleveland (58.66, 58.67).

exhibitions: (58.67 only): Cleveland Museum of Art, 1958:
In Memoriam Leonard C. Hanna, Jr., cat. no. 161, repr. Richmond,
Virginia Museum of Fine Arts, 1961: Treasures in America, p. 52,
repr. Vienna, Kunsthistorisches Museum, 1962: Europaische Kunst
um 1400, cat. no. 341. Baltimore, The Walters Art Gallery, 1962:
The International Style, cat. no. 96, repr.

bibliography: J. Ph. Gilquin, Explication des tombeaux des
dues de Bourgogne qui sont d la Chartreuse de Dijon (Nuits, 1736,
Dijon, 1749). Dom U. Plancher, Histoire generale et particulare de
la Bourgogne (Dijon, 1739 and ff.), t. ii and t. ill. Drouot, “Le
nombre des pleureurs aux tombeaux des dues de Bourgogne,”
Revue de l’Art Chretien, t. 61, liv annee (1911), 135-141. Henri
Drouot, “De quelques dessins du xvm e siecle representant les
tombeaux des dues de Bourgogne,” Revue de l’Art Chretien, t. 64,
lvii annee (1914), 113-118. Henri Drouot, "L’atelier de Dijon et
l’execution du tombeau de Philippe le Hardi,” Revue Beige
d’archeologie et d'histoire de l'art, ii (January 1932), 11-50, repr.
Georg Troescher, Claus Sluter (Freiburg, 1932), abb. 12, nos. 18,
38, 35 respectively. E. Andrieu, “Les tombeaux des dues de
Bourgogne au Musee de Dijon,” Bulletin monumental, XC (1933),
171-193. E. Andrieu, “La personnalite des pleurants du tombeau de
Philippe le Hardi,” Revue Beige d’archeologie et d’histoire de lart,
v (July-September 1935), 221-230. D. Roggen, “De Plorants van
Klaas Sluter te Dijon,” Gentsche Bildragen Tot de Kunstgeschiedenis,
ii (1935) 127-173, afb. 19 and 22, 47, 43 respectively. Aenne
Liebreich, Claus Sluter (Brussels, 1936), repr. pi. xxxvi (no. 1),
pi. xxxvii (no. 1), pi. xxxvi (no. 2) respectively. Georg Troescher,
Die Burgundische Plastik des ausgehenden Mittelalters (Frankfurt-
am-Main, 1940), repr. pi. lix (no. 221), pi. lxi (no. 241), pi. lxi
(no. 238) respectively. (40.128 only): William M. Milliken, “Two
Pleurants ...,” cma Bulletin , xxvn (October 1940), 119-121, repr.
on cover. Henri David, Claus Sluter (Paris, 1951), repr. pi. 27, 36, 35
respectively, cma Handbook (1958), no. 182 (40.128 only). Germain
Seligman, Merchants of Art (New York, 1961), pp. 216, 222, pi. 84.

VI-22 page 258

Virgin and Child. The Detroit Institute of Arts.
ex collections: Durlacher Brothers, London, Edgar B. Whit¬
comb, Detroit.

exhibitions: Detroit, Institute of Arts, 1928: French Gothic
Art, no. 44 repr. Baltimore, The Walters Art Gallery, 1962: The
International Style, no. 79 repr.

bibliography: Josephine Walther, “Exhibition of French Gothic

Art,” Bulletin of The Detroit Institute of Arts, X (December 1928),
no. 3, illus. p. 42. Walter Heil, “Kunstwerke der Franzosischen
Gotik Leihaustellung im Museum zu Detroit,” Pantheon, hi
(F ebruary 1929), no. 2, p. 76, illus. p. 75. Georg Troescher, Claus
Sluter und die burgundische Plastik (Freiburg im Breisgau, 1932),
pp. 80, 179, ph xxil. W. R. Valentiner, unpublished notes in a
catalogue of sculpture in The Detroit Institute of Arts. Aenne
Liebreich, Claus Sluter (Brussels, 1936), p. 165. W. R. Valentiner,
“Late Gothic Sculptures in Detroit,” The Art Quarterly, vi (Autumn
1943), no. 4, pp. 283, 284, 287; illus. p. 279, fig. 2; p. 280, fig. 3.
E. P. Richardson, Catalogue of the Paintings and Sculptures given
by Edgar B. Whitcomb and Arina Scripps Whitcomb to The Detroit
Institute of Arts (Detroit, 1954), p. 119, illus. p. 118.

VI-23 page 260

Book of Hours, in Latin. Baltimore, The Walters Art Gallery.
ex collections: Roussin Saint-Nicolas (ca. 1745). L. Gruel
Paris. Henry Walters.

exhibitions: Baltimore, The Walters Art Gallery, 1949: Il¬
luminated Books of the Middle Ages and Renaissance, no. 84 repr.
Pittsburgh, Carnegie Institute, 1951: French Painting, no. 15 repr.
Los Angeles County Museum, 1953-1954: Medieval and Renaissance
Illuminated Manuscripts, no. 52. Baltimore, The Walters Art Gal¬
lery, 1962: The International Style, no. 47 repr.
bibliography: Seymour de Ricci and W. J. Wilson, Census of
Medieval and Renaissance Manuscripts in the United States and
Canada (New York, 1935), I, 791, no. 214. Erwin Panofsky, Early
Netherlandish Painting (Cambridge, Mass., 1953), n. 48'. Millard
Meiss, “The Exhibition of French Manuscripts of the XIII-XVI Cen¬
turies at the Bibliotheque Nationale,” Art Bulletin, xxxvm (1956),
193, n. 23.

VI-24 page 262

Medallion: Coronation of the Virgin. New York, Mr. and Mrs.
Germain Seligman.

ex collection: Luigi Grassi, Florence.

exhibition: Baltimore, The Walters Art Gallery, 1962: The
International Style, no. 131, repr.

bibliography: Colin Eisler, “Le gothique international,” Art de
France , iv (1964), 289.

VI-25 page 264

Hours of Charles the Noble. The Cleveland Museum of Art.
expressive ends. He excels in the visual and piquant embodiment of
dramatic narrative. Second, he is one of the earliest painters to ex¬
ploit the expressive and decorative possibilities of atmospheric per-

377

spective in the depiction of distant landscape views. Third, he shows
the naturalistic bent of a Netherlander in the use of incisive, psy¬
chological expression. In this he follows not only the example of cer¬
tain panel paintings attributed to Bruges, but also the interests of Jean
de Bruges, called Jean Bondol, as seen for example, in the Resurrec¬
tion miniature in the Cleveland Museum's Gotha Missal of 1375 (cat.
no. vi-3).

Rosy Schilling and Millard Meiss have discussed the immediate
milieu of the Egerton Master: a circle of such painter-illuminators as
the so-called Master of 1402, the youthful Bedford Master, and the
early Boucicaut Master, working in Paris in the first decade of the
fifteenth century. Each of these painters was either a Netherlander or
strongly dependent on Netherlandish traditions. A great deal more
study is needed to isolate and relate their various productions.

It is tempting to guess at the specific origin of the Egerton
Master. His first three miniatures in the Hours of Charles the Noble
bear several similarities to the Arras tapestry hangings of Canon
Toussaint Prier made in 1402 now in the Cathedral at Tournai; and
with two panels probably painted in Bruges about 1400 (Calvary of
the Tanners, Saint Sauveur, Bruges, and a triptych in the Chicago
Art Institute). This suggests that the Egerton Master may have come
from the Artois-Flanders area of the South Netherlands in present-
day Belgium. Also, his early work bears a close relationship to that of
Jean de Beaumetz (see cat. no. vi-12). Having transplanted himself
to Paris, however, the Egerton Master began to assimilate and utilize
elegance of line and subtle nuances of color, especially notable fea¬
tures of the Deposition and Entombment miniatures in the Hours of
Charles the Noble. In these latter two miniatures the Egerton Master
is closest to what we know of Malouel from the Trinity tondo and
from the Martyrdom of Saint-Denis, both in the Louvre. In his
probable subsequent work, the scale of the Egerton Master’s composi¬
tions changes scope, gaining in breadth and complexity. His individual
landscape backgrounds are developed further, and his figures begin
to approach the fully-achieved, grandiose elegance of the Limbourg
Brothers’ late work. One particularly interesting feature in his more
mature work is a debt he may have owed to Zebo in the use of
architecture. This could have occurred as a result of his contact with
Zebo while working on the Hours of Charles the Noble. Refined,
elegant, and sophisticated as his later miniatures may be, we may still
prefer the vigor and emotional intensity of his earlier masterpieces,
his five miniatures in the Hours of Charles the Noble.

The Hours of Charles the Noble in its entirety, in all its complexity
and rich content, is not only an intrinsically handsome object but
also an important document in the development of painting in the
environs of Paris in the first decade after 1400. A fuller understanding
and appreciation of this single manuscript will gain from this context
and also from the wider perspective of the developing International
Style. But also, in itself, it significantly contributes to the larger view
and knowledge. The Hours of Charles the Noble—a microcosm which
can tell us something about the workings of the macrocosm—
contains between its covers a clear and successful intermingling of
Italian, Netherlandish, and Parisian traditions.

378

exhibitions: Paris, Bibliotheque Nationale, 1949: Manuscrits et
livres precieux retrouves en allemagne, no. 2, repr. (catalogue by
Jean Porcher). The Cleveland Museum of Art, 1964: Twelve Master¬
pieces of Medieval and Renaissance Book Illumination, no. 8 repr.
(Catalogue, cma Bulletin, li [March 1964]).
bibliography: Otto Pacht, "Panofsky’s ’Early Netherlandish
Painting’-I,” Burlington Magazine, xcvm (April 1956), 115, n. 24.
Millard Meiss, "The Exhibition of French Manuscripts of the XIII—
XVI centuries at the Bibliotheque Nationale,” Art Bulletin, xxxvm
(September 1956), 194-195, fig. 7. Jean Porcher, French Miniatures
from Illuminated Manuscripts (London, I960), pp. 58-59, fig. 61.
The International Style (Baltimore: The Walters Art Gallery, 1962),
p. 68. Millard Meiss, ’'French and Italian Variations on an Early
Fifteenth-Century Theme: St. Jerome and His Study,” Gazette des
Beaux-Arts, VI e Per., lxii (September 1963), 159, 164, fig. 17. cma
Bulletin, lii (March 1965): William D. Wixom, ’’The Hours of
Charles the Noble,” 50-83, 84-90, and Emanuel Winternitz, ’’The
Hours of Charles the Noble, Musicians and Musical Instruments,”
84-90. William D. Wixom, ’’The Hours of Charles the Noble,”
Burlington Magazine, cvm (July 1966), 370, 373, figs. 47-51.

VI-26 page 266

Christ Carrying the Cross. Paris, Musee du Louvre.
ex collection: Percy Moore Turner (until 1930).
exhibitions: San Francisco, California Palace of the Legion
of Honor, 1934: French Painting from the 15th Century to the
Present Day, no. 1. Los Angeles Museum, 1934: Paintings from
the Louvre, no. 5. Paris, Bibliotheque Nationale, 1955: Manuscrits a
peintures du XIII e au XVI e siecle, no. x.

bibliography: Rene Huyghe, in Bulletin des musees de France
(1930), pp. 99-100. H. Beenken, in Wallraf-Richartz Jahrbuch
(1933-1934), p. 216, n. 1. Charles Sterling, La peinture f ran false ,
les primitifs (Paris, 1938), pp. 48-49, fig. 44. Charles Jacques
[Sterling], Les peintures du moyen-dge (Paris, 1941), A no. 40, p. 9,
pi. xlii. Grete Ring, A Century of French Painting 1400-1300 (Lon¬
don, 1949), no. 33, pb 9. Erwin Panofsky, Early Netherlandish
Painting (Cambridge, Mass., 1953), I, 82, no. 1. Millard Meiss, "The
Exhibition of French Manuscripts of the XIII-XVI Centuries at the
Bibliotheque Nationale,” Art Bulletin, xxxvm (1956), 192. Carl
Nordenfalk, in Kunstkronik (1956), p. 185. Otto Pacht, in Revue
des Arts (1956), pp. 149-160. Jean Porcher, Medieval French
Miniatures (New York, 1959), p. 60. Charles Sterling and Helene
Adhemar, Peintures , ecole franfaise XlV e , XV e , et XVl e siecles
(Paris, 1965), 3, pi. 13.

VI-27 page 268

Book of Hours. Baltimore, The Walters Art Gallery.
ex collections: L. Gruel, Paris. Henry Walters.
exhibitions: Baltimore, The Walters Art Gallery, 1949: Illumi-

nated Books of the Middle Ages and Renaissance, no. 81, repr.
Pittsburgh, Carnegie Institute, 1951: French Painting 1100-1900, no.
10 repr. Baltimore, The Walters Art Gallery, 1962: The International
Style, no. 50 repr.

bibliography: Seymour de Ricci and W. J. Wilson, Census of
Medieval and Renaissance Manuscripts in the United States and
Canada (New York, 1935), I, 789, no. 207. Rosy Schilling, "The
Nativity and Adoration of the Child Christ in French Miniatures of
the Early Fifteenth Century," Connoisseur, cxxx (December 1952),
168 (note).

VI-28 page 270

Belles Heures of John, Duke of Berry, in Latin and French, for
Paris use. New York, The Metropolitan Museum of Art, The
Cloisters Collection.

the Egerton Master, both of whom creatively depend on Italian art
(cat. nos. v-15, VI-25).

The Belles Heures shows further evidence of creatively adopting
compositional inventions, and iconographic and stylistic features from
abroad. The Annunciation miniature depends in various ways on
Italian prototypes: the Virgin’s crossed arms, the separation of the
Angel of the Annunciation across a room from the Virgin, the thin
enframing columns. All recall elements in Florentine and Sienese
painting, perhaps conveyed through Italian art works or artists in the
Paris-Berry milieu. The rustic shed in the Nativity (folio 48 verso)
recalls the Arena Chapel fresco by Giotto. According to Erwin Pa-
nofsky, this motif was revived by Giotto from early Christian sarcoph¬
agi. The woman pulling her hair in the Entombment miniature also
seems to come from Giotto, as does the invention of the two draped
and prostrate figures in the scene of the Plague at Rome (folio 73
verso). Friedrich Winkler suggested that the inhabited acanthus
border which surrounds the Annunciation miniature seems to be
derived from the Porta della Mandorla, one of the side doors of the
Florence Cathedral executed between 1391 and 1397. The impact of
such ornaments may have been conveyed to the north by the Floren¬
tine miniaturist working in Paris mentioned previously—Zebo da
Firenze—who utilized inhabited acanthus borders freely in his manu¬
scripts (see cat. no. Vi-25).

Netherlandish traditions, too, may be felt in this manuscript. This
is not surprising, as our family of painters originated from Nijmegen
in Guelderland. Two examples of this may be noted among many.
The Flight into Egypt (folio 63) seems to reflect the Virgin and
Child on the famous altar wing panel of before 1399 by Melchior
Broederlam. The diagonal Entombment follows that of the Nether¬
landish Passion Master in the Petites Heures (Bibl. Nat. MS. lat.
18014), and possibly also that of the Egerton Master, who probably
came from the Artois-Flanders area (cat. no. vi-25).

A thorough training in Paris undoubtedly left its marks on the

Limbourg Brothers’ work in elegance of line and clarity of color. The
linear expressiveness of the Altarcloth of Narbonne of circa 1375
may occasionally be felt in the Passion miniatures. At least one
compositional invention carries over from their Paris experience. A
miniature in a copy of Jacques de Varazze’s Golden Legend (Bibl.
Nat. MS. fr. 414), which depicts the Virgin and Child surrounded
by the Court of Heaven, is adapted by the Limbourgs in the Belles
Heures (folio 218).

Professor Panofsky has suggested that the influence of the Lim¬
bourg Brothers was eclipsed by that of the Boucicaut atelier, whose
style and inventions benefited from widespread distribution and
imitation. The Limbourg Brothers’ work was restricted to fewer
manuscripts; these were largely removed from circulation because
of their ownership. However, the Belles Heures in itself had an
important ramification after it left the estate of the deceased Duke,
having been purchased by Yolande of Aragon, the wife of his
nephew, Louis II of Anjou, King of Sicily (see cat. no. vi-33).
bibliography: Leopold Delisle, Melanges de paleographie et de
bibliographic (Paris, 1880), pp. 282-293. Leopold Delisle, "Les
Livres d’Heures du due de Berry,” Gazette des Beaux-Arts , xxix
(1884), 106, no xxiv; pp. 399-400, no. x. Alfred de Champeaux and
P. Gauchery, Les Travaux d’art executes pour Jean de France (Paris,
1894), p. 119. Jules M. J. GuifTrey, Inventaires de Jean, due de Berry
(Paris, 1894-1896), I, 102, no. 349; p. 253, no. 960. Paul Durrieu,
"Les 'Belles Heures’ de Jean de France, due de Berry,” Gazette des
Beaux-Arts , xxxv (1906), 265-292. Rosy Schilling, "A Book of
Hours from the Limbourg Atelier,” Burlington Magazine , lxxxi
(1942), 194-197, pi. opp. p. 197. Jean Porcher, "Two Models for the
Heures de Rohan,' ” Journal of the Warburg and Courtauld In¬
stitutes, viii (1945), 1-4. Erwin Panofsky, Early Netherlandish
Painting (Cambridge, Mass., 1953), pp. 62-63, 65; notes 62 3 “ 6 , 74 4 ,
249 3 . Jean Porcher, Les Belles Heures de Jean de France, due de
Berry (Paris, 1953). Jean Porcher, Les Manuscrits d peinture en
France du XIII e au XVI e siecle (Paris, 1955), pp. 3, 70, 86-87.
Margaret B. Freeman, "A Book of Hours made for the Duke of
Berry,” Metropolitan Museum of Art Bulletin, n.s. xv (December
1956), 93-104. Helen Comstock, "The Duke of Berry’s 'Belles
Heures,’ ” Connoisseur, cxxxix (1957), 133-134, repr. 133. James J.
Rorimer and Margaret B. Freeman, The Belles Heures of Jean, Duke
of Berry, Prince of France (New York, 1958). Fritz Neugass, "New
Yorker Kunstereignisse, pt. 1—Das Metropolitan erwarbein Studen-
buch des Due de Berry,” Die Weltkunst, xxvm (1958), cover and
5-6, repr. Jean Porcher, The Rohan Hours (London, 1959), pp. 5-6,
8, 11-12, 18. Margaret B. Freeman, "The Annunciation from a Book
of Hours for Charles of France,” Metropolitan Museum of Art Bulle¬
tin, n.s. xix (I960), 105, 109. Philippe Verdier,, "A Medallion of the
'Ara Coeli’ and the Netherlandish Enamels of the Fifteenth Century,”
Journal of the Walters Art Gallery, XXIV (1961), 10, 13, 18-20, pis.
5, 6, 8. Millard Meiss, "French and Italian Variations on an Early
Fifteenth-Century Theme: St. Jerome and his Study,” Gazette des
Beaux-Arts, lxii (September 1963), 147, 150-151, 156-157,

379

159-160* 162, figs. 5, 8, 10, 12, 13. Otto Pacht, ’The Limbourgs and
Pisanello,” Gazelle des Beaux-Arts, LXH (September 1963), 110,
112, 113, figs. 2, 8. Bonnie Young, "A Jewel of St, Catherine,”
Metropolitan Museum of Art Bulletin, xxiv (1966), 319, 323, figs.
2 , 3 , 9 , 10 .

VI-29 page 274

Heures du Marechal de Boucicaut . Paris, Musee Jacquemart-Andre,
great pioneers of naturalism/' 4 In this, his work points to the future
developments of panel painting, especially in the Netherlands, How¬
ever, his best work has such authority and intrinsic beauty that it
should be appreciated in its own right.

EX COLLECTIONS : jean n le Meingre (d, 1121), Jean rn leMeingre
(d. 1490). Aymar de Poitiers, Diane de Poitiers. Guyot de VilJeneuve
(sale, Paris, 1900, no, 2).

exhibitions: Paris, Bibliotheque Nationale, 1904: Exposition
des primitifs francais. Section n of catalogue, p. 32, no. 86. Paris,
Palais National des Arts, 1937: Chefs d'oeuvre de I'art fran^ais, no.
771, Paris, Bibliotheque Nationale, 1955: Les Manuserits a peintures
cn France du XHF au XVI 1 ’ siecle, no. 201, Stockholm, Musee Na¬
tional, 1958: Cinq Siedes de /art frangais, no. 2. Paris, Archives
Nationales, 1965 : Pelerins et Chemins de Saint jacques en France et
en Europe, no. 258.

bibliography: F. G. A, Guyot de Villaneuve, Notice sur un
manuscrit franc a is du XIV e Steele; les bieures du Aiarechal de
Boucicaut (Paris, 1889)- Paul Durrieu, "Les Heurcs du Marechal de
Boucicaut du Musee Jacquemart-Andre, ' Revue de Fart chretien,
lxiii (1913), 74-81, 145-164, 300-314; lxiv (1914), pp. 28ff.
Bella Martins, Aleister Franke (Hamburg, 1929), p. 194, abb, 38.
L. Baldass, Jan ran Eyck (London, 1952), p. 17. Erwin Panofsky,
Early Netherlandish Painting (Cambridge, Mass., 1953), pp. 54-61,
81, 106, 121, 159, 183, 190, 218, 267, notes 49 1 , 55 r ', 56 l , 57 l , 58 1 ,
189 4 , 218 h 241 3 , 249\ figs, 59-67. Friedrich Winkler in Kunstchronik t
vnr (1955 ), 10, Jean Forcher, Medieval French Miniatures (New
York, 1959), pp, 58, 67, 69, 91.

jt Ibid ., p. 60,

VI-30 page 276

La Cite de Dieu, by Saint Augustine, translated into French by Raoul
de Presles. Baltimore, The Walters Art Gallery,

EX COLLECTIONS : Abbe d'Orleans de Rothelin (sale, Paris, 1746,
no. 456). DeBure(?), Sir Thomas Phillipps, Cheltenham (ca, 1830,
voL ji only). Bernard Quaritch, Ltd., London (until I960),
exhibition: Baltimore, The Walters Art Gallery, 1962: The
International Style, no. 54 repr.

BIBLIOGRAPHY: Comte A. de La horde, Les manu scrits a peintures
de la Cite de Dieu de Saint Augustine (Paris, 1909), ir, 323-327,
n, 31; lit, pi. XXVIII. Paul Durrieu, "Les Heures du Marecha! de
Boucicaut du Musee Jacquemart-Andre/’ Revue de Fart chretien,
lxiv (1914), 29 . Bernard Quaritch, Ltd., Catalogue 767 (London,
1957), no. 1, repr.

VI-31 page 278

Les Decades, by Livy, Books xxi-xxx, in French. Cambridge (Mas¬
sachusetts), Harvard University, Houghton Library,

EX COLLECTION: Marquess of Lothian (sale, New r York, January
27, 1932, no. 12).

exhibitions: Baltimore, The Walters Art Gallery, 1949: Illu¬
minated Books of the Middle Ages and Renaissance, no. 93 repr,
Cambridge, Massachusetts, Harvard College Library, The Fogg Art
Museum, and Houghton Library, 1955: Illuminated and Calligraphic
Manuscripts, no. 65 repr,

bibliography: Statistical Account of Scotland (1794, 184 5 edit.),
1 , 68. Sir Robert Kerr, Correspondence (1875), II, 737.

VI -32 page 280

Book of Hours, in Latin, for Paris use. Paris, Bibliotheque Mazarine.
exhibitions: Paris, Musee des arts decoratifs, 1923: Le Livre
franca is. Paris, Bibliotheque Nationale, 1926: Le moyen-age. London,
Royal Academy of Arts, 1932: Exhibition of French Art, 1200-1900,
no. 973. Paris, Bibliotheque Nationale, 1955: Les manuserits a pein-
ture en France du XIII 1 ’ au XVF- siecle, no. 205.
bibliography: Auguste Molinicr, Catalogae des manuscrits de
la Bibliotheque Mazarine (1885-98), I, 180-181. Paul Durrieu, "Les
Heures du marechal de Boucicaut du Musee JacquemartAndre/’
Revue de Fart chretien, LXIV (1914), 24, Henri Marten, La miniature
jrantais du XHD au XV e siecle (Paris, 1923), p, 101. Guy de la
Batut, "Les principaux manuserits ii peintures conserve a la biblio¬
theque Mazarine de Paris/' Bulletin de la Socle te franc aise de repro¬
ductions de manuserits d peintures (1933), pp. 44-45, Erwin Panof-
sky. Early Netherlandish Painting (Cambridge, Mass., 1953), n. 54 1 .
Jea n Porcher t French Miniatures from Illu m in at ed Ma n us c rip ts (Lon¬
don, i960), p, 69, fig, 75,

VI-33 page 282

Hours of Yalande of Anjou, formerly called the Rohan Hours, in
Latin, for Paris use. Paris, Bibliotheque Nationale,
worldly spirituality. He was a "tortured visionary" as well as "an
extremely conscientious craftsman/' 2 capable of subtle nuances
of modeling, dramatic movement, and timeless monumentality.

-Ibid,, p. 13 .

380

Completely oblivious to the naturalistic landscapes and atmospheric
effects which interested his contemporaries, the works of this artist
are more real, more gruesome, and more tortured in an individual
eloquence. The emotional character reminds us of the intensity of the
Romanesque trumeau sculptures of Languedoc at Souiliac and at
MoissacA

EX: collections; Yolande of Aragon, wife of Louis n, King of
Sicily and Duke of Anjou, Ren£ of Anjou. Antoine de Vandermont
Member of the Rohan family, possibly Marie de Lorraine, second
wife of Alain ix, vicomte de Rohan. "Maison professe des Jesuites."
Due de la Valliere. Bibliotheque du Roi.

exhibitions: Paris, Palais du Louvre (Pavilion du Marsan)
et La Bibliotheque Nation ale, 1904: Exposition des Primitifs franca Is,
no, 89. Paris, Bibliotheque National, 1926: no. 56, Paris, Biblio-
theque Nationals 1937: Les plus beaux manuscrits francais a
peintures du moyen-age, Paris, Bibliotheque National^ 1955:
Manuscrits a peintures du XlII e an XVP siede, no. 233, Vienna,
Kunsthistorisches Museum, 1962: Europaische Kunst um 1400,
no. 118, repr. pis. 140 and 14 L

bibliography: Paul Durrieu, Le Maitre des 'Grandes Heures
de Rohan et les lescuier d Angers,” La Revue de Fart ancien et
moderns , xxxu (1912), 81-98, 161-183. Abbe Victor Leroquais,
Les Litres d’Heures Manuscrits de la Bibliotheque Nationals (Paris,
1927), i, 281-290. Adel held Heimann, "Der Meister der 'Grandes
Heures de Rohan' und seine Werkstatt," Stddel-Jahrhuch , vn/vnr
(1932), 1-6L Louis Gillet, "Les Manuscrits aux XIV e et XV*
siedes,” Arts et Metiers graphiques, no. 60 (1937), p. 47. Jean
Porcher, Les Grandes Heures de Rohan (Geneva, 1943). Jean
Porcher, "Two Models for the 'Heures de Rohan, 1 ” Journal of
the Warburg and Court a aid Institutes , vm (1945), 1-6. Crete Ring,
A Century of French Painting, 1400-1500 (London, 1949), no. 86,
col. pi 17, pis. 37-40. Erwin Panofsky, Early Netherlandish
Painting (Cambridge, Mass., 1958), r, 71, 106; ii, pi. 45. Jean
Porcher, The Rohan Book of Hours (London, 1959).

3 Compare with Ibid., p. 14.

Vl-34 page 284

The de Buz Book of Hours, in Latin and French, for Paris use.
Cambridge (Massachusetts), Harvard University, Houghton Li¬
brary.

ex collections: Antoine de Buz, Seigneur de Villemareule and
his wife Barbe de Loan (or Louen) (second quarter of the six*
teenth century). Bernard Quaritch. George C. Thomas, Philadel¬
phia. Rosenbach Company. William King Richardson.
exhibitions; Baltimore, The Walters Art Gallery, 1949:
Illuminated Books of the Middle Ages and Renaissance, no. 96, pi.
xliii. Pittsburgh, Carnegie Institute, 1951: French Painting 1100-
1900 , no, 13, repr. Cambridge, Mass., Fogg Art Museum and
Houghton Library, 1955: Illuminated and Calligraphic Manuscripts,

no, 64, pi. 29. Baltimore, The Walters Art Gallery, 1962: The
International Style, no. 57, pi. lxi.

bibliography: Erwin Panofsky, "The de Buz Book of Hours,"
Harvard Library Bulletin , m (1949), 163-182. Erwin Panofsky,
Early Netherlandish Painting (Cambridge, Mass., 1953), p. 73;
notes 6 l\ 133L 137*, 287A fig. 96,

VI-35 page 288

Book of Hours, in Latin, for Paris use. New York, Pierpont Morgan
Library,

the front end of a long shadowy halfway. What a long w r ay we have
come from Duccio and Pucelle (see cat. no. v-15)!

In addition to style, certain other elements in this manuscript point
to the Bedford atelier. A heraldic eagle gorged with a ducal crown
(folio 118 and 156-156 verso) appears to have been repeated from
the Bedford Hours in the British Museum (Add MS. 18850), wdiere
it supports the arms of the Duke of Bedford (folio 156 verso). The
miniature of David and Bathsheba is said to be a close replica of the
one in the Bedford Hours (folio 96)♦ The pure colors, the use of
white, the lavish use of gold, all point to the Bedford Master and
his atelier.

However, the highly cooperative habits of artists in the book-
illuminating workshops of the time will probably preclude any im¬
mediate attempt to identify the master of the three best miniatures in
the present manuscript. The first step is to try to isolate the hand of
the Bedford Master himself. This has already been ably done in
Eleanor P. Spencer's recent article on the Hours in the British Mu¬
seum. 3 The Salisbury Breviary (Bibl, Nat. MS. lat, 17294) must also
be studied in a similar manner. It is only after this type of study is
completed that, having gained a dearer idea of the artistic personality
of the Bedford Master himself, we can turn to his associates and
followers. The best master in the Morgan manuscript probably will
remain in our consideration as a gifted follower. Millard Meiss has
summed up the position of the present artist in suggesting that he
was a follow er of the Bedford Master, the Limbourg Brothers, and
the Master of the Breviary of Jean sans Peur, 4

ex collections: Lcboeuf de Montgermont Collection. Ed. Rahir,
Paris.

EXHIBITION: New- York Public Library, 1933-1934: The Pier¬
pont Morgan Library Exhibition of Illuminated Manuscripts, no.

117.

bibliography: Catalogue of the Leboeuf de Montgermont Collec¬
tion, vir (1914), no. 34, Erwin Panofsky, Early Netherlandish
Painting (Cambridge, Mass,, 1953), I, n, 6lA

3 Eleanor P Spencer, The Master of the Duke of Bedford: The Bedford
Hours," Burlington Magazine, evu (October 1965), 495-502.

1 Letter from Professor Millard Meiss, July 5, 1966,

381

VI-3 6 page 290

Tapestry Panel with Winged Stags. Rouen (Seine-Maritime), Musee
des Antiquites de la Seine-Infericurc.

notable in their relative naturalism, especially in contrast to the amus¬
ing lap-dog character of the rampant lions. The colors, now somewhat
faded, are still striking as well as subtle. The curvilinear movement in
the entwined banderoles and windblown standard gives a martial air
to the scene which is echoed by the animated lions. The linear elegance
and soft modeling of the dignified stags dominate.

The stylistic character and some of the details can be compared with
several earlier tapestries, one of which can be absolutely identified
with Arras, while the others are only tentatively assigned to that
tapestry center. The documented work is a series of hangings made in
1402 for Canon Toussaint Prier, a product of the Arras workshop of
Pierre Fere, preserved today in Tournai Cathedral. A Scene of a
Romance, preserved in the Musee des arts decoratifs in Paris, is an
example attributed to this center and datable circa 1420. 3 The treat¬
ment of flowers, leaves, foreground, and distant space is related in all
of these works. They might be considered with the present tapestry
in relation to the same features which continue Franco-Netherlandish
pictorial traditions. A confirmation is found in miniature painting
produced in the same Franco-Netherlandish ambiance. For example,
the backdrop niche made by the foliated thicket may be seen also in
the miniatures for May and December by the Limbourg Brothers in
the Tres Riches Heures at Chantilly. This invention continues in a
modified form in the later tapestries of the Loire (see cat. nos. vii-22
to 26).

If the Winged Stags tapestry may be tentatively localized in an
Arras workshop, then its date in that center must be correlated with
historical events there. It seems unlikely that a tapestry referring to
the triumph of Charles vii could be given so splendid a form and
execution in Arras before the reconciliation of Charles with Philip
the Good of Burgundy which culminated in the Treaty of Arras in
September 1435. One might even wonder whether the tapestry was
a commemorative gift of the Burgundian house to the French king.

:J Jacques Dupont and Cesare Gnudi, Gothic Painting (Geneva, 1954), p.

160 repr. in color.

chapter vii Late Gothic Art

VII-l page 294

Saint Christopher. Saint Louis, City Art Museum.
bibliography: Meyric R. Rogers, 'Two Late Gothic Sculptures,”
Bulletin of the City Art Museum of St. Louis, XX (April 1935), 15-
16 . Handbook of the Collections of the City Art Museum (St. Louis,
1944), p. 37.

exhibitions: Paris, 1900: Exposition retrospective de Part fran-
cais a 1800. Paris, London, New York, and Chicago, 1946-1948: La
tapisscrie francaise du Moyen-age jusqu’a nos jours, nos. 41, 24, 44,
18 respectively. Alencon, 1951: Exposition des tapisseries. Copen¬
hagen, 1954: Exposition de la tapisserie francaise. Alencon, 1954:
La venerie dans Tart. Rouen and Paris, Archives de France, 1956:
“Jeanne d’Arc et son temps.” Oslo and Bergen, 1958: La tapisserie
francaise du moyen-age a nos jours. Arras, 1962: Exposition “La
Chasse” tapisseries du XV e siecles a nos jours.
bibliography: Gaston Le Breton, “Notice sur deux anciennes
tapisseries du Musee des Antiquites de Rouen,” Bulletin Commission
antiquites Seine-Inf erieure, XI (1897-1899), 281. Jules Guiffrey,
Les tapisseries du XII a fin du XVI siecle (Paris, n.d.), p. 181, n. 3,
fig. 89. Joseph Destree, “Etude sur les tapisseries exposees a Paris en
1900, au Petit-Palais et au pavilion d’Espagne,” Annales, Societe
d’archeologie de Bruxelles, xvii (1903), 15-16, repr. Gaston Migeon,
Les arts du tissu (Paris, 1909), p. 292. Emile Picot, “Note sur une
tapisserie a figures symboliques conservee au Musee des Antiquites
de Rouen.” Bulletin de la Societe d’Histoire de Normandie, XI
(1910-1912), 111. Emile Picot, “Le cerf allegorique dans les
tapisseries et les miniatures,” Bulletin de la Societe frangaise de
Reproductions des manuscrits a peinture, ill (1913), part 2, p.
57 , n. 2. J. J. Vernier, Guide du Visiteur, Musee des Antiquites de
la Seine-Inf erieure (Rouen, 1923), pp. 115-117. Gaston Migeon,
Les arts du tissu (Paris, 1929), pp. 342, 344, repr. J. J. Marquet de
Vasselot, Bibliographic de la tapisserie, des tapis et de la broderie
en France (Paris, 1935), p. 176. Francis Salet, La tapisserie fran-
gaise du moyen-dge d nos jours (Paris, 1946), p. vii, pi. 19. Paul
Martin, “La tapisserie royale des 'Cerfs-Volants,’ ” Bulletin monu¬
mental, cv (1947), 197-208. Stephen V. Grancsay, “Knights in
Armor,” The Metropolitan Museum of Art Bulletin, vi (February
1948), 187 (detail repr.), 188. Roger-Armand Weigert, French
Tapestry (London, 1962), p. 76, pi. xxn. Francis Salet, Lart
gothique (Paris, 1963), pp. 174, 182, pi. xxv.

VII-2 page 296

Mourning Virgin from a Crucifixion Group. New York, The Metro¬
politan Museum of Art.

ex collections: Georges Hoentschel. J. Pierpont Morgan.
bibliography: Paul Vitry, Michel Colombe (Paris, 1901), p.
335. Paul Vitry, "Quelques bois sculptes de l’ecole tourangelle du
XV e siecle,” Gazette des Beaux-Arts, 3 Per., xxxi (1904), 115-118,
repr. 116. Joseph Breck, Catalogue of Romanesque, Gothic, and

382

Renaissance Sculpture: Metropolitan Museum of Art (New York,
1913), no. 320, p. 254. L. H. Coltineau, Repertoire topo-bibli-
ographique des Abbayes et Prieures (Macon, 1935). Marcel Aubert
and Michele Beaulieu, Description raisonne des sculptures du
tnoyen-dge, de la renaissance et des temps modernes, vol. 1 : Moyen-
Age (Paris, 1950), p. 208. Pierre Pradel, Michel Colombe, le dernier
image gothique (Paris, 1953), pp. 39, 123, n. 117.

VII-3 page 298

Saint Anthony , Armorial Hanging of the Chancellor Rolin. Beaune
(Cote-d’Or), Hotel Dieu.

exhibitions: Paris, Manufacture nationale des Gobelins, 1928:
La tapisserie gothique, no. 4. Paris, Palais National des Arts, 1937:
Chefs d’oeuvre de Part frangais, nos. 1275-1276. Paris, Musee d’art
Moderne, 1946: La tapisserie francaise du moyen-age a nos jours,
nos. 23-31. New York, The Metropolitan Museum of Art, 1947:
Frencli Tapestries, nos. 31-42. Brussels, Palais des Beaux-Arts,
1951: Le Siecle de Bourgogne, no. 124.

BIBLIOGRAPHY: Jules Guiffrey, Comite des travaux historique
et scientifique: Bulletin archeologique (1887), p. 239. Jules Guiffrey,
Les Tapisseries du XII a la fin du XVI siecle, in Histoire general
des arts appliques a l’Industrie (Paris, n.d.), VI, 68-69. Henri Stein,
LHotel-Dieu de Beaune (Paris, 1933), pp. 83-84. Francis Salet,
La Tapisserie francaise du moyen-age a nos jours (Paris, 1946),
pi. 14.

VI1-4 page 300

Miniature showing Saint Veranus, Bishop of Cavaillon, Curing the
Sick. New York, Wildenstein Foundation, Inc.
ex collections: Family of Etienne Chevalier, until the death
of Nicolas Chevalier, Baron de Crisse in 1630 (the manuscript
was still intact when seen by Gaignieres, d. 1715). Louis Fenoulhet,
Shoreham, Sussex. Georges Wildenstein.

exhibitions: Paris, Sorbonne, 1947: Les Grandes Heures de
Notre-Dame de Paris, no. 29. Paris, Bibliotheque Nationale, 1955:
Manuscrits a peintures du XIII e au XVI e siecle, no. 248. Stockholm,
Nationalmuseum, 1958: Fern sekler Fransk konst, 1 , 23-24; repr. 11 ,
no. 3.

bibliography: Paul Wescher, Jean Bouquet and his time
(Switzerland, 1947), p. 37. Jean Porcher, Bulletin de la Societe
Nationale des Antiquaires de France (February 19, 1947), p. 222.
Grete Ring, A Century of French Painting, 1400-1500 (London,
1949), p. 212, no. 130.

VII-5 page 302

Miniature showing Queen Medusa Enthroned. The Cleveland Mu¬
seum of Art.

ex collections: Jacques d’Armagnac, Due de Nemours (d.
1476). Lord Mostyn, London (sale, July 13, 1920, no. 9: entire
manuscript). Mme. Th. Belin, Paris (remainder of manuscript,
sale, Paris, 1936). Durlacher Brothers, New York.
exhibitions: Detroit Institute of Arts, 1928: French Gothic
Art of the Thirteenth to Fifteenth Century, no. 19 repr.; mentioned in
chapter on painting. Brooklyn Museum of Art, 1936: European Art
1450-1500, no. 94, pi. 94. Baltimore Museum of Art, 1949: Illumi¬
nated Books of the Middle Ages and Renaissance, p. 42, pi. xLvi.
Toronto, Royal Ontario Museum of Archeology, 1950: Medieval
Illuminated Manuscripts. Pittsburgh, Carnegie Institute, 1951: French
Painting 1100-1900, no. 18 repr. Los Angeles County Museum of Art,
1953-1954: Medieval and Renaissance Illuminated Manuscripts.
bibliography: William M. Milliken, ''Illuminated Miniatures
in the Cleveland Museum of Art,” cma Bulletin, xii (April 1925),
70. Katherine Gibson, The Goldsmith of Florence (New York,
1929), repr. p. 28. Seymour de Ricci and W. J. Wilson, Census of
Medieval and Renaissance Manuscripts in the United States and
Ca?tada (New York, 1937), II, 1930.

VII-6 page 304

Mourner. The Cleveland Museum of Art.

ex collections: M. M. Hocquart and Edouard de Broissia,
Dijon, 1925. M. Legay, Nancy, 1876. Baron Arthur de Schickler,
Martinvast, Normandy. Clarence Mackay, New York.
exhibition: Paris, 1900: Exposition Universelle.
bibliography: Aenne Liebreich, Clans Sluter (Brussels, 1936),
pp. 158, 207 (no. 67), pi. xxxvn, no. 2. Georg Troescher, Die
bnrgnndische Plastik des ausgehenden mittelalters (Frankfurt-am-
Main, 1940), 11 , pi. xevi, no. 417. Henri David, Clans Sinter (Paris,
1951), pi. 48. William M. Milliken, "Two Pleurants from the
Tombs of the Dukes of Burgundy,” cma Bulletin, xxv (October
1940), p. 121. Pierre Pradel, “Nouveaux documents sur le Tombeau
de Jean de Berry, frere de Charles V,” Fondation E. Piot, Monu¬
ments et Memoires, xlvix (1957), 152-154, fig. 13a.

VII-7 page 306

Pietd. Philadelphia, John G. Johnson Collection.
exhibitions: Antwerp, Musee royal de Beaux-Arts a Anvers,
1930 : Exposition d’art flamand. Worcester, The Worcester Art Mu¬
seum, 1939: The Worcester-Philadelphia Exhibition of Flemish Paint¬
ing, no. 17.

bibliography: Friedrich Winkler, Belgische Kunstdenkmdler
(Munich, 1923), 1 , 255, fig. 275. C. Gaspar, Tresor de lart flamand

383

ciii moyen-dge an XVllP siecle (Paris, 1932), II, 44. James B. Ford
and G. Stephen Vickers, "Nano Goncalves and the Pieta from Avig¬
non,” Art Bulletin, xxi (1939), 12, n. 30.

VI1-8 page 308

Portrait of an Ecclesiastic. New York, The Metropolitan Museum
of Art.

ex collections: Prosper Henry Lankrink (Lugt 2090). J. P.
Heseltine (Lugt 1507). Henry Oppenheimer, London (sale, London,
Christie’s, July 10—14, 1936, no. 428 repr.). Lord Duvecn, London.
Duveen Brothers, Inc., New York (until 1949).
exhibitions: Paris, Palais du Louvre (Pavilion de Marsan) et
Bibliotheque Nationale, 1904: Exposition des Primitifs francais, no.
44. London, Grafton Galleries, 1909-1910: National Loan Exhibition,
no. 119. London, Royal Academy of Arts, 1932: Commemorative
Catalogue of the Exhibition of French Art, 1200-1900, no. 541.
London, Christie, Manson, and Woods, 1936: Famous Collection of
Old Master Drawings (Oppenheimer Collection), no. 428. Paris,
Palais National des Arts, 1937: Chefs d’oeuvre de Part francais, no.
437. Philadelphia, Philadelphia Museum of Art, 1950-1951: Master¬
pieces of Drawing, no. 10 repr.

bibliography: Roger Fry, in Burlington Magazine (July 1904),
pp. 358 ff. Henri Bouchot, Catalogue, LExposition des primitifs
francais, la peintnre en France sous les Valoit (Paris, 1904), I, pi.
xxxviii. Comte Paul Durrieu, in La Revue de l'art ancien et jnoderne
(1904), p. 415. Max J. Friedlander, in fahrbuch der Preussischen
Knnstsammlnng, xxxi (1910), 227. Sidney Calvin, Vasari Society
(Oxford, 1913-1914), Part ix, no. 25 repr. Pierre Lavallee, Le des -
sin francais du XII e au XVl e siecle (Paris, 1930), no. 31, pi. 19.
Trenchard Cox, Jean Fonqnet (London, 1931), p. 135. Klaus G. Peris,
JeanFouquet (Paris, 1940), p. 22, pi. 282. Charles Jacques [Sterling],
La Peinture francaise. Les Peintnres du moyen-dge (Paris, 1941), p.
18, no. 6 (du repetoirc), p. 54. Hans Tietze, European Master Draw-
ings in the United States (New York, 1947), p. 10, no. 5, repr. p. 11.
Grete Ring, A Century of French Painting, 1400-1500 (London,
1949), p. 214, no. 139, pi. 92. Agnes Mongan, One Hundred Master
Drawings (Cambridge, Mass., 1949), p. 12, repr. p. 13. Regina
Shoolman and Charles E. Slatkin, Six Centuries of French Master
Drawings (New York, 1950), p. 4, pi. 2.

VI1-9 page 310

Duke John II of Bourbon. Baltimore, The Walters Art Gallery.

EX COLLECTIONS: Oscar Homberg (sale, Paris, May 16, 1908,
no. 677). Henry Walters (sale, Mrs. Henry Walters, New York,
May 1, 1941, no. 1083).

bibliography: Martin Weinberger, ”A French Model of the Fif¬
teenth Century,” Journal of the Walters Art Gallery, IX (1946),
9 -21. Pierre Pradel, Michel Colombe (Paris, 1953), pp. 25-27, 30,
pi. ill. Andre Chastel, "Chronique de Part ancien et moderne, fin du
384

moyen-age et renaissance,” La Revue des Arts, iv (March 1954), 59,
fig. p. 58.

VII-10 page 312

Triptych with the Annnnielation, David and Isaiah. Orleans (Loiret),
Musee historique.

excollections: Denis Dheron. Musee des Beaux-Arts d’Orleans
(gift of Dheron in 1829).

exhibitions: Paris, Exposition Universelle, 1900: no. 2626.
Paris, Petit Palais, 1950: La Vierge dans Part francais, no. 229.
Rome, Bibliotheque Apostolique Vaticane, 1963: Emaux de Limoges,
no. 164.

bibliography: Louis Bourdery, ’’Note sur un triptych en email
peint de Limoges, conserve au Musee historique d’Orleans,” Bul¬
letin Archaeologiqne, Comite des Travaux historiques et scientifiques,
X (1892), 426 ff. Gaston Migeon, ’’L’Exposition retrospective de Part
francaise, Orfevrerie et Emaillerie,” La revue de Fart ancien et
moderne, vm (July-December 1900), 67. J. J. Marquet de Vasselot,
Les emaux Union sins de la fin du XV e siecle et de la premiere par tie
du XVI e (Paris, 1921), pp. 80-81, 242-243 (no. 51). Marvin
Chauncey Ross, ’’The Master of the Orleans Triptych, enameller and
painter,” Journal of The Walters Art Gallery, iv (1941), 9-12, 17.

VII—11 page 314

Lady with Three Suitors. The Cleveland Museum of Art.
ex collections: Moscardo, Verona (Lugt 2990b-h). Marchese
of Calceolari.

VII-12 page 316

Saint Alar gar et. New York, Leopold and Ruth Blumka.
ex collection: Emile Molinier, Paris (sale, Paris, Galeries
Durand-Ruel, June 21-23, 1906, no. 378 repr.).

VII—13 page 318

Bust Reliquary of Sainte-Felicule. Saint-Jean-d’Aulps, eglise parois-
sale.

exhibition: Paris, Musee des arts decoratifs, 1965: Les Tresors
des eglises de France, no. 721.

bibliography: Francois Souchal, "Les bustes reliquaires et la
sculpture,” Gazette des Beaux-Arts, lxvii (April 1966), 214, fig. 13.

VII—14 page 320

Candelabrum with the Judgment oj Paris. Saint*Omer (Pas-de-
Calais), Musee municipal.

EX COLLECTION: M. Machart, Saint-Omer (until 1906).
bibliography: Raymond Koechlin, Les ivoires gothiques fran-
cais (Paris, 1924), II, 435, no. 1244, pi. CCiv.

VII-15 page 322

Triptych with Scenes from the Life of the Virgin. The Cleveland
Museum of Art.

cameo with the Virgin and Child on one side and on the other an
enamel scene of the Visitation. A frame, which binds the two to¬
gether, gives an inscription which is closely related in the character
of the letters to that on the Cleveland frame. Undoubtedly, other
enamels in this style will be identified in the future, while for the
present we can savor the exquisite world of these two examples.
ex collections: Kremlin, Moscow. Rosenberg and Stiebel, New
York.

exhibitions: The Cleveland Museum of Art, 1947-1948: Ex¬
hibition of Gold. The Cleveland Museum of Art, 1963: Gothic Art
1360-1440, no. 34 (exterior shutters called "ca.1400," interior shut¬
ters and back called "Close to Jean Bourdichon, ca.l495").
BIBLIOGRAPHY: Joan Evans, A History of Jewellery 1100-1870
(London, 1951), p. 79, pi. 33a ("Middle of the fifteenth century").
William M. Milliken, 'The Art of the Goldsmith," Journal of
Aesthetics and Art Criticism , vi (June 1948), 321, illus. 319, fig. 7
("Burgundian, First half xv century").

VII-16 page 324

Story of Saint Eloi with Saint Fiacre. Beaune (Cote-d’Or), Hotel
Dieu.

Saint, dressed as a smith, kneeling and doffing his cap to the Virgin
and Child before taking up the horse’s severed leg. At the left is
Satan, female in appearance and attire, holding two carnations and
looking especially evil. At the right is a hermit saint, tonsured and
haloed, holding a book and a spade. Contrary to the inscriptions above
which repeat Eloi Sanct Eloi, this figure represents Saint Fiacre, the
saint for healing sicknesses of an especially personal nature. 4 Al¬
though Saint Eloi is a patron saint for goldsmiths and blacksmiths,
and Saint Fiacre is a patron of gardeners as indicated by his spade,
both representations may be explained in their curative aspect in

4 Reau, hi, pt. 1, pp. 495-498.

relation to specific disorders and ill health. Consequently, their con¬
text within the medieval hospital at Beaune takes on a special signif¬
icance, which gives uniqueness to the present hanging among the
larger group of tapestries produced in the ateliers of the Loire.
BIBLIOGRAPHY: Jules Guiffrey, Les Tapisseries du XII d la fin
du XVI siecle, in Histoire general des arts appliques d 1’'Industrie
(Paris, n.d.), vi, 69. Louis Reau, Lit peinture et les tapisseries, la
Bourgogne, in Les richesses d’art de la France (Paris, 1927), p. 48.
Henri Stein, L’Hotel-Dieu de Beaune (Paris, 1933), p. 84.

VII-17 page 326

Angel Reliquary. Saint-Pavace (Sarthe), eglise.

exhibition: Paris, Musee des arts decoratifs, 1965: Les Tresors
des eglises de France, no. 245, pi. 209.

bibliography: Les Monuments historiques de la France, III (July-
Scptember 1957), 158, repr. 159.

VII—18 page 328

Madonna and Child. Baltimore, The Walters Art Gallery.
bibliography: Philippe Verdier, "A Silver Statue from Cham¬
pagne," Bulletin of The Walters Art Gallery, xv (March 1963).

VII—19 page 330

Triptych Showing the Annunciation and the Nativity. Baltimore, The
Walters Art Gallery.

EX collections: Antocolsky (sale, Paris, June 10-12, 1901, no.
46 repr.). G. R. Harding, London. Henry Walters (acquired in
1901 ).

bibliography: J. J. Marquet de Vasselot, Les emaux limousins
(Paris, 1921), pp. 158-159; pp. 298-299, no. 131. Philippe Verdier,
The Catalogue of the Renaissance Painted Enamels in The Walters
Art Gallery [in preparation].

VII-20 page 332

Relief Heads of a Man and a Woman. The Cleveland Museum of
Art.

bibliography: William M. Milliken, "Two Marble Heads, The
School of Michel Colombe," cma Bulletin, ix (January 1922), 2-6,
repr. Pierre Pradel, Michel Colombe, le dernier imagier gothique
(Paris, 1953), p. 139, n. 350.

385

VII—21 page 334

Portrait of a Nobleman. The Cleveland Museum of Art.
exhibition: The Cleveland Museum of Art, 1963: Year in
Review, no. 106 (cma Bulletin, December 1963, repr. cover).

VII-22,23,24 page 336

Triumph of Youth, Triumph of Eternity, Triumph of Time. The
Cleveland Museum of Art.

ex collections: Count Aramon, Chaumont. Lord Duveen, New
York. Clarence H. MacKay, New York. French and Company, New
York.

bibliography: M. le Vte. Joseph Walsh, Album du Chateau de
Blots restaure et des Chateau de Chambard, Chenceaux, Chaumont,
et Amboise (Blois, 1851), pp. 61-62. Marcel Fouqier, Les grandes
chateaux de France (Paris, 1907), p. 77 repr. George Leland Hunter,
Practical Book of Tapestries (New York, 1925), p. 103. George
Leland Hunter, The Tapestries of Clarence H. AlacKay (New York,
1925), pp. 65-67. Dorothy G. Shepherd, "Three Tapestries from
Chaumont”; Remy G. Saisselin, "Literary Background of the Chau¬
mont Tapestries”; William D. Wixom, "Traditions in the Chaumont
Tapestries,” cma Bulletin, xlviii (September 1961), 159-177, 178—
181, 182-190, respectively.

VII-25 page 336

Triumph of Love (fragment). The Detroit Institute of Arts.
ex collections: Marczell von Nemes, Munich. A. S. Drey,
New York (until 1935).

exhibitions: Hartford, Connecticut, Wadsworth Atheneum, and
Baltimore Museum of Art, 1951-1952: Two Thousand Years of
Tapestry Weaving, no. 84, pi. vm.

bibliography: Adele Coulin Weibel, "Eros Triumphant,” Bul¬
letin of The Detroit Institute of Arts, xiv (1935), 76, (repr.) 81.
Dorothy G. Shepherd, "Three Tapestries from Chaumont”; Remy G.
Saisselin, "Literary Background of the Chaumont Tapestries”;
William D. Wixom, "Traditions in the Chaumont Tapestries,” cma
Bulletin, xlviii (September 1961), 172-173, 181, 183. Charles Ster-
386

ling, "La Pieta de Tarascon et les Peintres Dombet,” La Revue du
Louvre et des Musees de France, xvi (1966), 23-24, fig. 20.

VII-26 page 342

The Concert. Paris, Musee des Gobelins et Salles d’Expositions.
ex collection: Acquired by the Musee des Gobelins in Alsace
in 1890.

exhibitions: Paris, Louvre and Bibliotheque Nationale, 1904:
Exposition des primitifs frangais, no. 269. Paris, Musee des Gobelins,
1928: La tapisserie gothique, no. 26. Paris, Palais National des Arts,
1937: Chefs d oeuvre de 1’art francais, I, no. 1295. Paris, Musee des
Gobelins, 1938: no. 2. Paris, Musee d'art moderne, 1946: La tapis¬
serie francaise du moyen-age a nos jours, no. 69. New York, The
Metropolitan Museum of Art, 1947: French Tapestries, no. 72.
Madrid, Lisbon, 1952. Rome, Naples, Venice, Belgrade, Zagrek,
1953. Copenhagen, 1954. Besancon, 1955. Lima, Dallas, 1957. Prague,
Bratislava, Ostrava, 1958. Salisbury, Johannesburg, Le Cap, 1959-
Sofia, Bucharest, 1962. Tel Aviv, 1963. Dakar, 1964.
bibliography: Louis de Farcy, Alonographie de la cathedrale
d'Angers, vol. Ill: Le mobilier (Antwerp, 1901), p. 131. Inventaire
general des richesses d'art de la France, Paris: Monuments civils
(Paris, 1902), III, 87-88. Jules M. J. Guiffrey, Histoire general des
arts applique a l’Industrie, vol. vi: Les tapisseries du XII a la fin du
XVI siecle (Paris, n.d.), pp. 89-90, fig. 51. Francis Salet, La tapis -
serie franfaise du moyen-age a nos jours (Paris, 1946), pi. 35.
Dorothy G. Shepherd, "Three Tapestries from Chaumont,” cma
Bulletin, xlviii (September 1961), 166, fig. 7.

VII-27 page 344

Plan in Relief of the City of Soissons. Soissons (Aisne), Cathedrale
Saint-Gervaise-et-Saint-Protais.

exhibitions: Paris, 1900: Exposition universelle retrospective
de Part francais a 1800, no. 1779. Paris, Musee des arts decoratifs,
1965: Les Tresors des eglises de France, no. 98, pis. 212, 213.
bibliography: Henry Havard, Histoire de I’orfevrerie franfaise
(Paris, 1896), p. 207 repr. Etienne Moreau-Nelaton, Les eglises de
chez nous, arrondissement de Soissons (Paris, 1914), III, 72.

INDEX

Aachen, Cathedral Treasury, 192, 367
Aachen, chandelier plates, 356
Abbe V. Leroquais, 168, 224
Abbeville, Musee du Ponthieu, 246
Abbey church of Saint Benigne, 76
Abbey of Beaugerais, 296
Abbey of Beaupre, 172
Abbey of Cambron, 172
Abbey of Citeaux, 202
Abbey of Cluny, 34
Abbey of Coulombs, 80
Abbey of Grandmont, Treasury, 104,
105, 110, 114

Abbey of Grandselve, Treasury, 160
Abbey of Montmajour, 114, 116
Abbey of Mont-Saint-Michel, 30
Abbey of Ourscamp, 146, 248
Abbey of Pontigny, 92
Abbey of Saint Aubin in Angers, 40
Abbey of Saint-Bertin at Saint-Omer,
22, 26

Abbey of Saint-Vanne, 32
Abbot Dodolinus, 22
Abbot Gerard (1082-1108), 40
Abbot Odbert, 22
Abbot Richard, 32
Abbot Roger of Coulombs
(1119-1173/74),80
Abbot Suger, 70, 254, 356
Abel, 170

Achaemenid sculptures, 84
Adam, 105
Adam and Eve, 172
Adams, Frederick B., Jr., xii
Adoration of the Magi, 199, 202
Agnes of Burgundy, Countess of
Poitou, 28

Albi, choir statues, 190
Alpais, G., 114, 116
altar angels, 180, 186
Altar at Klosterneuberg, 126
Altarcloth of Narbonne, 222
Altman collection of the Metropolitan
Museum, 322
Amanieux, F., 128
Amiens, 168
Cathedral, 182

Bibliotheque municipale, MS.
Lescalopier 2, 40, 170
MS. 24,1,42, 50, 64
Vierge doree, 184

Anchin, 134
d’Andely, Henri, 208
Angel of Annunciation, 379
Angers, 40

Bibliotheque municipale, MS., 40
MS. 4, 116

Musee archeologique Saint Jean, 82
Mus£ede l'Hotel Prince, ivory, 194
Anjou, 40

Anne de France, 322
Annunciation, xi, 2, 112, 180, 192,

200 , 202,210,226,242, 264,

268, 270, 280, 312, 330
Annunciation Group, from the

Vigouroux Chapel in the Cathedral
of Rodez, now in the Church of
Inieres, 316

Annunciation to the Shepherds, 202
Anonymous lender, Noyon Missal
leaf, 124, 144

Antiphonary of Beaupre, 172, 198
Antoine LeMoiturier, 304, 310
Antwerp, Musee Mayer van den
Bergh, 98, 246, 250
Anzy*le*Duc, tympanum, 36
Aphrodite, 320
Apocalypse, 26, 62
Apocry pha, 68

Apostle, 98, 120, 124, 134, 190
Apostles, 232, 246, 254
arcades, 170
Archdiocese of Sens, 92
architectural canopies, 30, 58, 68, 170
excerpts, 68
Aristotle, 208
Arles, cloister, 120
Arles, Saint Trophime, 78
Arnoul, Archbishop of Lisieux
(1141-1181), 118
Arras, 6, 32, 88, 242, 290, 298,

366, 382
Cathedral, 186

Triptych of the Miracle of Sainte
Chandelle, 186
Artois-Flanders, 378
Ascension of Christ, 14
Atelier of the Tabernacles of the
Virgin, 194, 202
Athena, 320

Aubert, Marcel, 76, 118, 128, 140
Autun, 2, 6, 64, 80
Angel, 60

Bibliotheque municipale, MS. 3, 12
Cathedral of Saint Lazare, 62, 64
Lazarus tomb, 120
Auxon, Virgin and Child, 210
Auxonne, Virgin and Child, 258
Avignon, 2, 58, 224, 226, 266, 368,
373

Cloister of the Cathedrale of
Notre-Dame-des-Doms, 58
Avranches, Bibliotheque Municipale,
MS. 72, 30

Baldass, Ludwig, 330
Baldinucci, Filippo, 236
Baltimore, The Walters Art Gallery,
3, 5, 6, 7, 10, 72, 76, 78, 86, 1 30,
150, 156, 176, 204, 208, 238, 246,
310, 328, 330
MS. W.28, 88,90, 104
MS. W.115, 196
MS. W.209, 268, 276, 372
MS. W.321,260
MS. W.237, 373
MS. W.759, 172, 198
MS. W.770, 276
Baltrusaitis, Jurgis, 353
Baptism of Christ, 130
Barnard, George Grey, 353
bascinets, 372

bas-de-page, 170, 172, 199, 365
Bayonne, Musee Bonnat, Virgin from
the Chapel Rieux, 316
Beaugerais Abbey, 7, 296
Beaulieu, 118

Beaune, Hotel Dieu, 3, 6, 298, 324,
336

Beauneveu, Andre, 4, 230, 232, 238,
242, 244, 370
Beaupre Convent, 172
Beauvais Cathedral, 86
Becket, Thomas, 116
Bedford Master, 4, 220, 268, 274,

280, 282, 284, 288, 307, 372,

378,381

Bedford workshop, 298
Beenken, 266

Belin, Mme. Th., collection, 302
Bellac, £glise de Notre-Dame, Chasse,
1,4, 46, 48

Bellegarde, Virgin and Child, 316
Belles Heures, 264, 270, 282, 284
Belleville Breviary, 198
Belshazzar, 66
Benoist, Antoine, 94
Berceure, Pierre, 278
Berlin Museum, 150, 194, 368
crayon drawing of Guillaume
Juvenal des Ursins by Fouquet,
308

retable representing the story of
Saint Berlin by Simon Marmion,
306

Bern, Bibliotheque municipale,
Cod.318, 18

Bernard de Montfaucon, 72, 74, 94
Bernard VI, Marshal of France, 168
Beroul, 208
Berry, 232

Bertram de Casals, 373
Berze-la-Ville, frescoes, 34
Besan<;on, Collegiale
Sainte-Madeleine, 134
Betrayal of Christ, 14, 130, 226
Betrayal of Christ in the Garden, 372
Bible, 34

Bible of the Abbey at Saint Aubin at
Angers now in the library at
Angers, 40
Bible historiee, 282
Bible of Robert de Billyng, 198
Bible of San Callisto, Rome, 16
Les Billanges, eglise, 150
Bishop, 78, 138, 140
Biville, chasuble, 140
Blanche and Jean de France, gisants
from Royaumont, 162
Blanche de France, Duchess of
Orleans, 196
Blanche of Brittany, 196
Blumka, Mr. and Mrs. Leopold,
Collection, see: New York
Bober, Harry, 220
Boccaccio, Des cl ere s el noble
femmes, 302

Bondol, Jean, 3, 4, 192, 214, 220,

222 , 234, 236, 246, 364, 378

387

Bony, Jean, 118

Book of Hours, 4, 260, 264, 268, 270,
274, 276, 280, 282, 284, 288, 371,
372

Boston, Museum of Fine Arts, 3, 7,

10, 16, 38, 88, 130, 158
Mosan enamel, 108
translucent enamel triptych, 192
Bouchot, Henri, 308
Boucicaut atelier, 278, 280, 298, 379
Boucicaut Master, 3, 4, 268, 274, 276,
280, 282, 284, 371,378
Bouillac, £glise, 160, 162, 178
Boulogne, Reliquary of Saint-Sang,

174

Bourbon Diptych, 322
Bourbon-l'Archambault,
Sainte-Chapelle, 310
Bourbonnais, 310

Bourdichon, Jean, 262, 302, 322, 330,

339

Bourganeuf, 133
Bo urges, 232

Cathedral, Notre-Dame-Ia-Blanche,
310

Pierre Trousseau and Simon
Aligret chapels, 232
Church of Montermoyen, 353
Church of Notre-Dame-de-la-
Comtale, 78

D£pot de la Cathedrale de Saint
Etienne, 232, 254
House of Jacques Coeur, lapidary
collection, 353
Mus£e du Berry, 5, 78
Sainte-Chapelle, 232, 254

Tomb of John, Duke of Berry,

304

Brabant, 371

Brandt, Sebastian, Ship of Fools, 320
Branner, Robert, 80
Breuilaufa, £glise, 6, 162
Breviary, 372

Broederlam, Melchior, 242, 274,

288,379

Bruges City Hall, consoles, 254
Bruges, Saint Sauveur, Calvary of the
Tanners, 378

Brunswick, Cathedral of Saint
Blasius, Treasury, 12
Brunus, P., 120

Brussels, Bibliotheque Royale, MS.
9047: Le Livre des sept ages du
monde, 306

MS. 9961-2: Peterborough Psalter,
170

MS. 11060-61: Tr£s Belles Heures,
236, 242, 244, 254, 260, 266
Brussels, City Hall seated prophets,

254

Brussels, Mus£e royaux d’Art et
d’Histoire, Chasse of St.
Gondulphe, 96
Burgundian, 28, 88
Burgundian Nobleman, 308
Burgundy, 3, 34, 60, 62, 64, 66, 76,
92,238,258, 294, 304,334
Bust Reliquary of Sainte-Felicule, 318
Byzantine art, 26, 34, 84, 104, 114,
126,134, 136
Byzantine chalices, 70
Byzantine enamels, 38
Byzantine iconography, 126
Byzantine ivory, 54, 100, 126, 152
Byzantine manuscript, Rossano
Gospels, 50
Byzantium, 88

Cain, 170

Cain killing Abel, 276
Cain, Julien, 9
Calvary, 240

Cambrai, Bibliotheque municipale,
MS.150, 224, 226,228, 374
Cambrai, Mus6e municipal, 2, 90
Cambridge, Fitzwilliam Museum, 126
Cambridge (Mass.), Fogg Museum
58, 72

Cambridge (Mass.), Harvard
University, Houghton Library,
Richardson MS. 32, 278, 284
Richardson MS.42, 4, 284
Candelabrum, 320
Canon Toussaint Prier of Tournai
Cathedral (d. 1437), 378, 382
Canterbury Cathedral, 116
Capital from Poitiers, 46
Cardinal Godin, 224
Cardinal Napoleone Orsini,
polyptych, 266

Carolingian ivories and manuscript
illuminations, 120

Carolingian Psalter at Utrecht, 16, 64
Carthusian Monks, 234, 238
Casket, 208

Castelnaudery, church, 228

castle of Bourbon-l’Archambault, 310

Catalan, 282, 373

Catalan manuscript illumination, 224
Cathedral of Moulins, 262
Cathedral of Notre-Dame in Paris, 94
Cathedral of Tournai, 378
Censing Angel, 60, 64
Cerfs volants tapestry, 290
Cezanne, 304

Chaalis, Musee Jacquemart-Andr6,
130

Chalandon collection, 238, 374
Chalice of Abbot Suger, 2, 70

Chalons-sur-Marne, 2, 5, 74, 88, 90,
108, 118, 357
Notre-Dame-en-Vaux, 98
Champagne, 3, 7, 98, 138, 140, 184,
328

champleve enamel, 46, 48
Champmol, Chartreuse de, see:

Chartreuse de Champmol
Chancellor Rolin, 6, 298
Chantilly, Musee Conde, MS.65:

Tres Riches Heures, 270, 274, 282,
288,382

MS.1695: Psalter of Queen
Ingeborg, 124,130,134,144,

360

Chapel of Balesis, 110
chapel-de-fer, 372
La Charite-sur-Loire, 80
Charlemagne, 14,16, 322
Charles d’Amboise, 336, 342
Charles I of Bourbon and Agnes of
Burgundy, 310

Charles III, King of Navarre, Count
of Evreux and Duke of Nemours,
see: Hours of Charles the Noble
Charles IV, 196

Charles V, Holy Roman Emperor
(1519-1556),90

Charles V (Valois), 198, 218, 220,
222, 250, 252, 256, 290, 376
Charles VI (d. 1422), 252, 290
Charles VII (1422-1461), 290, 300,
382

Charles VIII, 314
Charles the Noble, see: Hours of
Charles the Noble

Chartreuse de Champmol, 3, 200, 202,
234, 238, 240, 242, 250, 254, 256,
274, 294, 304, 310, 371
portal, 200

Well of Moses, 250, 254, 256, 258,
376

Chartres, 74, 76, 94, 126, 136, 142,

144

Chasse from Bellac, 48
Chasse from Grandselve, 160, 162
Chasse du Christ Legislateur, 160,178
Chateau of Chaumont, 336
Chateau of Giallon, 332
Chateau-Gontier, frescoes, 40
Chateau du Verger, 342
Chatelain, Jean, xii

Chaumont tapestries, 6, 324, 336-339,
342

chess, 206

Chevalier, Etienne, 2, 300
Chicago, The Art Institute, 6, 124,

138

Book of Hours, 312
triptych, 378

Chretien de Troyes, 208
Christ, arrest of, 246
Christ Carrying the Cross, 266
Christ in Majesty, 170, 198, 200
Christ Medallion, xi, 3, 12
Christine de Pisan, 250
Church at Javernant, 210
Church of Magny, Marble Virgin
and Child, 370

Church of Notre-Dame-en-Vaux at
Chalons-sur-Marne, 98
Church of Saint-Gery-au-Mont-des-
Boeufs, 90
Church at Sarry, 98
Cincinnati, Taft Museum, reliquary,
192

Cistercian Convent of Saint Maty at
Beaupr6, 172
Citeaux, 60, 88, 160, 202
classicistic draperies, 124, 154, 162
classicistic movement, 126
classicistic style, 3, 6, 36, 124, 126,

130, 134, 144, 146, 154, 162
Claus Sluter, see: Sluter, Claus
Claus de Werve, 256
Cleveland Capital, 68
Cleveland Museum of Art, xi, xiii, 1,
2, 4, 5, 6, 10, 12, 40, 82, 88, 92, 96,
98, 104, 105, 108, 116, 118, 146,
148, 150, 152, 168, 170, 174, 190,
194, 196, 200, 206, 210, 212, 214,
218, 220, 222, 230, 232, 234, 236,
238, 242, 246, 250, 252, 254, 256,
262, 264, 268, 270, 302, 304, 308,
314, 322, 332, 334, 336, 364, 372,
378, 379, 382

Cross by Master of the Grandmont
Altar, 108

Daniel Capital, 40, 68
enamel Triptych from the Kremlin,
262

Kneeling Prophet, 200
Limoges Cross, 82, 105
Madonna and Child, 230, 236
MS. 24.428, 364
MS. 24.1015, 302
MS. 54.598,92

MS. 62.287, 168, 170, 196, 214,

220, 222,234,236, 246, 268,

372,378

MS. 64.40, 222, 238, 264, 268,

270, 379

cloisonne enamel, 38
Cloister of the Cathedrale
Notre-Dame-des-Doms, 58
Clovis (481-511), 12
Cluniac frescoes at Berz6-la-Ville, 34
Cluny, 2, 6, 7, 34, 62, 80
Bible, 2

Miter, 236, 244

388

Mu see Ochier, 62
Saint Peter, 60
Cockerell, Sydney, 172
Colombe, Jean, 262
Colombe, Michel, 6, 304, 310, 326,
332

Colombes de Montpezat, Virgin, 316
color, Catalan-Languedoc, 224
columnar figures, 7, 88, 90
Compostela, 54
Comte de Laborde, 302
Conant, Kenneth, 58, 62
Confraternity of La Sainte-Croix in
Avignon, 373

Conques, Treasury, Portable Altar of
Saint Foy, 38, 46

Convent of the Cordeliers, Toulouse,
112

Copenhagen, National Museum,
chalice, 192
cruet, 192, 250
Copenhagen, Royal Library,

Kristina Psalter, 144, 146
Corbel, 158
Corbie, 22, 60, 92
Gospels, 42, 50, 64
Coronation of the Virgin, 196, 264,
284,34Q, 364
Corporal Case, 152
Corvei, 22

Cottreau collection, 212, 230
Le Coudray-Saint-Germer, eglise, 36
Coulombs, 80

Count Raymond V of Saint-Gi 1 les,
120

Counts of Toulouse, 160
La-Cour-Dieu, Madonna and Child,
230

Court of Heaven, 379
Courtly Life tapestry series in the
Cluny Museum, 322
Cowled Head, 158
Crosby, Sumner, 76, 80
Crosier, 154, 176, 204
Cross of Saint Bertin, 96
Crozet, Rene, 78
Crucifix, 82

Crucifixion, 192, 204, 264
Crucifixion Group, 2, 88, 296
cruet with the fleur-de-lis Paris stamp
now in Copenhagen, 250
cult of the Holy Sacrament, 114
cult of the Virgin, 182, 212
d’Amboise, Charles, see: Charles
d’Amboise

Daniel, 4, 5, 66, 68, 80,232
Daniel Capital, 40, 68
La Daurade in Toulouse, 68, 160
David, 94,170,232,312

David and Bathsheba, 288, 381
Deacon Saint, 150
Death of the Virgin, 126, 130, 136,
260

de Buz Book of Hours, 4, 284
Decretum, 92
Delacroix, Eugene, 154
Demotte, G. J., 353
Dennery, Etienne, xii
Deposition, 238, 270, 378
Des cleres et nobles femmes, 302
Destree, Joseph, 250
Detroit Institute of Arts, 4, 1 54, 258,
336

Triumph of Love (fragment)
tapestry, 324
Virgin, 254
Dijon, 76, 226, 232

Biblioth£que municipale,

MS. 168, 60

Mus£e arch£ologique, 2, 5, 76
Musee des Beaux-Arts, 5, 48, 202
Saint Benigne, 2, 5, 6, 76, 294
Dives and Lazarus, feast, 365
d’Orleans, Jean, see: Jean d’Orleans
Douai, Bibliotheque municipale,
MS.90: Missal of Anchin, 124,

134, 144

Drawing on boxwood, 244
Dreiturmreliquiar in Aachen, 367
droleries, 198

Dublin, Trinity College Library, Book
of Kells, 48
Duccio, 222, 381
Duccio's Maesta, 201, 368
Dupont, Jacques, xi
Durrieu, Paul, 236

Ebbo, Archbishop of Reims
(816-835/45),18
Ebbo Gospels, 42
Ecclesia, 56, 114,134
"Ecclesia Master,” 1 34
Ecclesiastic, 308
Edward III, 218
Edward, the Black Prince, 218
Egerton Master, 222, 238, 264, 268,
270, 378, 379
Eisler, Colin, 262
Elders of the Apocalypse, 5, 26
Eleanor of Aquitaine, 70
Elijah, 96

Elizabeth of Hungary, 192
emaile en ronde-bosse, 252
embroidery, 2, 152
empirical perspective, 274
enamel, 162

champlev£, 46, 48, 96,104, 105,
108, 114, 116, 126, 130, 148,

150,154

cloisonne, 12, 38,174
encrusted on gold, 252
painted, 5, 312, 330
translucent, 6, 174, 192, 250, 252
Enamel Triptych, 322
en coquille (shell technique), 326,
328

English influence, 3
Enlart, Camille, 118, 174
Enthroned Virgin, 226
Entombment, 130, 222, 270, 300, 378,
379

Epernay, Bibliotheque municipale,
MS.l, 18
Eros, 338
Etamps, 90
Eternity, 336
Etienne de Muret, 104
Eucharistic Coffret, 114, 116, 202
Evans, Joan, 56, 256, 314, 322

Fage, Rene, 100
Fainting Virgin, 240
Fecamp, 30
Fere, Pierre, 382
Fishmonger, 365
Flagellation of Christ, 130
Flamel, Jean, 270

Flight into Egypt, 199, 202, 284, 379
Florence, Bargello, Saint Martial
Limoges relief figure, 150
small Diptych, 242
Florence, Biblioteca Laurenziano,
Rabula Gospels, 50
Florence, Palazzo Vecchio, 368
Florence, Santa Croce, Taddeo Gaddi
fresco, 288

Florence, Uffizi Gallery', Portinari
Altarpiece by Hugo van der
Goes, 330

Focillon, Henri, 118
Fouchet, Christian, xii
Fountain, 250, 376
Fouquet, Jean, 2, 5, 262, 296, 300,
302, 308, 312, 339
Francois, Maitre, 5, 202
Francois, I, 340

Franco-Netherlands, 254, 256, 270,
274

Frankish, 28
Frankish Kingdom, 12
Freeman, Margaret B., 66
frescoes, 34, 40, 116
Friend, A. M., 22
Frinta, Mojmir, 242
Froissart, Jean, 232
Fulda, 22
Fulk, 40

Gabriel de Saint Aubin, 124
Gaddi, Taddeo, 288
Galahad, 208
Gallo-Roman stelae, 54
Garden of Paradise, 340
Gassies, G., 84

Gauthier, Marie-Madeleine S., xii, 38,
46, 96, 102, 108, 114,116, 126,
150, 162
Gawain, 208
Gentil, Jehan, 238, 374
Geoffroy-Dechaume, 94
Georges de la Sonnette, 294
Gerard de Viane, 172
Gimel, chasse, 108
Giotto, 201, 379
Girard de la Chapelle, 238, 374
Gislebcrtus, 6, 64, 352
Glorification of the Virgin, 236
Godin, Cardinal, 224
Goldschmidt, Adolph, 26
Goliath, 170

Gospel Lectionary at Bamberg
Cathedral, 50

Gospels, 4, 5, 18, 22-25, 30, 42, 50,
60, 64, 86

Gospels from the Abbey of Saint-
Bertin at Saint-Omer, 30
Gospels from Saint-Omer, 86
Gospels made for Ebbo, Archbishop
of Reims (816-835/45), 18
Gotha Missal, 168, 170, 196, 214,

220, 222, 234, 236, 246, 268,

372,378

Gouron, Marcel, 120
Grande Chartreuse, 270
Grandmont, 50, 104, 105, 110, 114,
148, 150, 162

Grandmont altar frontal, 148, 162
Grandrif, eglise, 2, 184
Grandselve, Treasury', 160
Grapes of Canaan, 96
Gratianus, Franciscus, 92
Green, Rosalie B., 5, 68, 353
Greenhill, Eleanor S., 6,124
Grille from the Abbey of Ourscamp,
248

grisaille, 7, 220, 222, 236, 260
grisaille drawing lent from the
Louvre, 236, 260
Grivot, Denis, 352
Grodecki, Louis, 357
Gudohinus Gospels of 754 (Autun
MS. 3), 12

Guelph Treasure, xi, 3
Gueret, Musee arch£ologique, 108
Gui de Pileo, 164
Guillaume de Boesses, Bishop at
Orleans, 154
Guillaume de Lorris, 206

389

Guillaume VII, Duke of the
Aquitaine, 28

Hague Bible, 214, 220
Hague, The, Musee Meermanno-
Westreenianum, MS. 10B 23:

Bible of Charles V, 214, 220
Hainaut, 371
Hamann, Richard, 120
Harding, Stephen, 60
Hell mouth, 276
Henri d'Andely, 208
Henry II, 32

Henry' II Plantagenet, 104, 116
Henry the Liberal, 96
Hera, 320
Heraclius, 30, 270
Herbert of Bosham, 92
Hildburgh, W. L., 6,162
Hildesheim, Bernward’s bronze
doors, 100

Honore, Maitre, 192, 196, 200, 250,
364,368

Hours, 168, 198, 201,224, 226, 228,
282, 379

Hours of Charles the Noble, 222, 238,
264, 268, 270, 379
Hours of Etienne Chevalier, 2, 300
Hours of Jeanne d’Evreux, 196-201,
214,220,222, 369
Hugh of Semur, Abbot of Cluny
(1049-1109), 62
Hugo Lacerta, 104
Hugo van der Goes, 330
Hulin de Loo, George, 308
Humbert, altar angels, 186

Ile-de-France, 3, 6, 70, 72, 78, 80, 84,
94, 118, 124, 180, 182, 192, 194,
196 , 198, 202, 204, 206, 208, 212,
214, 220, 222, 234, 236, 260, 264,
266, 268, 274, 276, 278, 280, 288
lldefonsus at Parma, 34
image de cbevet, 306
Incredulity of Thomas, 14
Ingeborg, Psalter of Queen, 124, 130,
134, 144, 360

instruments of the Passion, 120

International Style, 3, 6, 264, 322, 367

Iranian textiles, 28

Isaiah, 232, 312

Israel von Meckenem, 330

Istanbul, 250

ivory, 14,16, 32, 146, 182, 194, 206,
208, 246, 320

Ivory crucifix, Gildhall Museum,
London, 82

Jacquemart de Hcsdin, 242, 260, 266
Jacques d’Armagnac, Due de
Nemours, 302
Jacopo della Quercia, 188
jamb figure, 7
Jameson, Anna, 316
Janville, eglise, 2, 180
Jaujard, Jacques, xii
Javernant, formerly, Annunciation
Group, 7

Jean de Beaumetz, 3, 4, 238, 240,

374,378

Jean de Bruges, see: Bondol, Jean
Jean de Cambrai, 232, 310
Jean de Liege, 370
Jean dcMarville, 256
Jean de Meung, 206
Jean deMoreuil, 168
Jean II le Bon, 218, 278
Jean II le Meingre, Marechal de
Boucicaut, 274
Jean d’Orleans, 222
Jeanne d’Evreux, 196, 198, 220, 371
Jerusalem, 54
Jestaz, Bertrand, xii
Job, 60

John, Duke of Berry, 230, 232, 236,
238, 260, 266, 270, 282, 304,

381

John II, Duke of Bourbon, 6, 310
John the Fearless, Duke of Burgundy,
304

Jottrand, Mireille, 96

Journey of the Magi, 202

Jube of the Cathedral of Rouen, 248

Judgment of Paris, 320

Julien, Guillaume, 174

Kansas City (Missouri), William
Rockhill Nelson Gallery of
Art, 80, 100

Katzenellenbogen, Adolph, 76
Kautzsch, Rudolf, 134
Kiss of Judas, 372
Kleinschmidt, Helen, 62
Kneeling Prophet, 200
Koechlin, Raymond, 188, 194, 202,
210,246

Kofler collection, 126

Labande, H., 373
Lacerta, Hugo, 104
Lady with Three Suitors, 314
Lai by Henri d'Andely, 208
Lamentation, 368
Landais, Hubert, xi
Langres Museum, ivory Annunciation
group, 210

Languedoc, 3, 54, 56,88, 112, 120,

160 , 164, 190, 224, 228, 316,

367, 373

Languedocian manuscripts, 282
Laniepce, Raymond, xii
Lasbordes, church, 228
Last Judgment portals, 120
de Lasteyrie, R., 236
Last Supper, 14, 130
Lauer, Philippe, 34
Lavallee, Pierre, 236, 308
Lazarus, 64

Leandro, Bishop of Seville, 60
Lectionary, 34

Lee, Sherman E., xi-xiii, 206
Lefrancois-Pillion, Louise, 212
Lehman, Robert, 322
Lelli, Teodoro, Bishop of Treviso, 308
Le Mans, Cathedral, tapestries with
the Lives of Saints Gervais and
Protais, 324
Treasury', 28

Leningrad, Hermitage, 150
Leopard d’or, 218
Lerida, Cathedral of, 112
Leroquais, Abbe V., 168, 224
Le Roy, Martin, 130, 174, 186
Lesche, Madonna, 212
Les Decades, 278
Lestocquoy, Chanoine J., 186
Leves, 142

Life of Saint Aubin, now in the
Bibliotheque Nationale, 40
Life of the Virgin, 156, 202, 322
lignum vitae, 100, 164
Limbourg Brothers, 3, 4, 264, 270,
282, 284, 288, 381

Limoges, 50, 102, 108, 114, 116 , 126,
130 , 148, 154, 162, 312, 330
Cathedral of Saint-Etienne, 50, 102
Collegiale of Saint-Martin, 130
copper-gilt reliefs, 130-133, 360
Cross, xi, 104, 105
enamel. 4, 5, 8, 10, 104, 105, 108,
114, 116, 126, 130, 148, 154,

312, 330

Musee municipal, 2, 5, 102, 104,
114, 202

Saint Martial, 56

Limousin, 3, 6, 50, 100, 102, 104ff..
108, 110, 114, 116, 126, 130,

148, 154,162

Livy, Les Decades, 278, 284
Loire Valley, 3, 6, 68, 230, 324,
336-339, 342, 382
tapestries, 324, 336-339, 382
Lombard art, 266

London, British Museum, Add. MS.
18850, 372, 381

Add. MS. 17738: Bible of Floreffe,
98

MS. Egerton 1070: Book of Hours,
264

MS. Harley 1585, 356
London, Gildhall Museum, ivory, 82
London, Victoria and Albert Museum,
162 , 246

translucent enamel triptych and
leaf from a diptych, 192
Virgin and Child, 328
London, Wallace collection, 322
Lorraine, 3, 158

Lorris, Madonna and Child, 230
Louis I, Duke of Anjou, 250
Louis II, King of Sicily and Duke of
Anjou, 282, 322, 379
Louis VII, 70
Louis IX, 218
Louis XI, 300
Louis XII, 324
Louis de Male, 252
Louviers, eglise de Notre-Dame, 2,
240

Love, 336
Love, courtly, 208
Loypeau, Etienne, Bishop of Lu^on
(1388-1407), 260
Lucerne, Kofler collection, 126
Lu<;on Master, 260, 268
Lyon, Cathedral of, 136

Treasury of the Cathedral, 2, 1 52
Lyonnaise, 136

Mabillon, 84

Mackay, Clarence, 256

Macon, Bibliotheque municipale,

MS. 1-2: Cite de Dieu, 302
Madonna and Child from Ourscamp,
146, 162

Madonna and Child sculptures,
regional groupings, 370
Madonna of Humility', 340
Madonnas, 230
Madrid, MS. E e 27, 373
Mainz, 1 58

Maitre-Devallon, R., xii
Maitre Francois, 5, 302
Maitre Honore, 192, 196, 200, 250,
364, 368

Maitre de Moulins (Jean Prevost),
262, 322, 330, 334
Male, Emile, 4, 50, 56, 84, 118, 201,
232 ,368

Malouel, Jean, 371, 378

Malraux, Andre, xi, xii

Malval Chasse, 108

Malval, Church, 108

Man and Serpent (Laocoon ?), 170

Man of Sorrows, 264

mandrake, 372

Mansel, Jean, 306

390

Mantegna, 340
Mantes, 2, 357
Cathedral, 98
tympanum, 108
D£pot de la Collegiale Notre-
Dame, 118
Marchiennes, 86

Marechal de Boucicaut, 274, 276, 371
Margaret of Brabant, 252
marginal illustrations, 170, 172, 365
Marie de Bornaing, 172
Marmion, Simon, 306
Marquet de Vasselot, J. J., 150, 154,
312

Marriage of the Virgin, 288
Martin, Arthur, 152
Martin, Paul, 290
Martini, Simone, 210, 266
Martyrdom of Saint Thomas Becket,
116

Massacre of the Innocents, 199, 202
Master of Aix, 296, 304
Master G. Alpais, 114,116
Master, Bedford, see: Bedford Master
Master, Boucicaut, see: Boucicaut
Master

Master of the Breviary of Jean sans
Peur, 381

Master, Egerton, see: Egerton Master
Master, Francois, see: Maitre
Francois

Master of 1402, 378
Master of the Grandmont Altar, 4, 5,
104, 105

Master of the Louis XII Triptych, 5,
330,332

Master of Mary of Burgundy, 302
Master of the Orleans Triptych, 5, 312
Master, Rohan, see: Rohan Master
Master of Saint Giles, 124
Mauriac, Church, tympanum, 50
Maurice de Sully, Bishop of
Notre-Dame in Paris
(1160—1196), 94

Meaux, Benedictine Abbey Church of
Saint-Faron, 84

Meaux, Mus£e municipal, 84,140
Medallion with Bust of Christ, xi, 3,

medieval Passion play, 214
Meditation on the Passion, 238, 246
Mehun-sur-Yevre, 238
Meiss, Millard, 260, 264, 266, 278,
378,381

Melun (formerly), altar diptych by
Jean Fouquet, 300
le Merlerault, chapel, 142
Merovingian, 1, 3, 12
chasses, 46
Mesuret, Robert, 224

Metz, 16,92, 158
Micah, 232
Michel, Jean, 294
Michel de Villoiseau, Bishop of
Angers, 154
Michelangelo, 120
Milan, Poldi-Pezzoli Museum,
tabernacle, 192

Mil liken, William M., xi, 10, 332
Millin, Aubin-Louis (1759-1818),
234

Miner, Dorothy, xii, 224, 260, 268,
371,373

Minneapolis Institute of Arts, 7,130
Miracle of the Grain Field, 202
Miracle of Saint Louis, 201
Mirror Cases, 206
Missal, 4, 124, 144, 224, 226, 228,
373

Missal of Anchin, 360
Missal of Maroilles, 357
Miter, 222, 236, 244
Modigliani, Amadeo, 84
Moissac, 118

trumeau figure of Jeremiah, 42
trumeau sculpture, 381
Monastery at Fecamp, 30
Monceaux-le-Comte, 230
Monte Cassino, 34
Montermoyen, 353
de Montfaucon, Bernard, 72, 74, 94
Montpellier Museum, apostle reliefs,
358

Montreal, Mr. and Mrs. L. V.

Randall Collection, 2, 34
Mont-Saint-Michel, 30, 32
Monvaerni atelier, 312
Moralia in Job, 60
Morand, Kathleen, 196, 198
Morel, Jacques, 6, 310, 316
Mosan, 7, 9

enamels, 96, 108
Phylactery, 96
Moscow, Kremlin, 262
Moses, 96,118
Mostyn, Lord, collection, 302
Moulins, 310

Cathedral, Popillons Chapel,
stained glass, 262
Triptych, 262

Triptych, by Maitre de Moulins
(Jean Prevost), 330
Mourner, 3, 4, 256, 304
Mourning Virgin, 296
Mouton d’or, 218
Muller, Theodor, 294
Munich, National Museum, MS.
3005: Book of Hours, 306

Nantes Cathedral, Tomb of Francois
II of Brittany and Marguerite de
Foix, 326

Naples, Triptych by Jean Bourdichon,
322

Narbonne, Tresor de la cath£drale
Saint-Just, 1, 3,14, 164
Nativity, 192, 202, 276, 330
Naumberg Master, 158
Near Eastern sources, 3
Nef, 174

New York, Mr. and Mrs. Leopold
Blumka collection, 6, 190, 192,

316

New York, The Metropolitan Mu¬
seum of Art, 1, 2, 3, 7, 26, 60, 64,
74, 94, 150, 162, 190, 228, 296,
308,328

Altman Collection, 322
Annunciation tapestry, 242
Belles Heures, 264, 270, 282, 284
Bury Saint Edmunds walrus ivory
cross, 100

Hours of Jeanne d’Evreux,
196-201,214, 220,

222, 369

Limoges enamel cross, 100
Shrine of Elizabeth of Hungary,

192

silver cross, 82

translucent enamel pendant, 192
New York Public Library, Spencer
MS. 33, 302

Spencer MS. 49, 224, 226, 228
New York, Pierpont Morgan Library,
10

Eucharistic Casket from
Lichtenthal, 368
MS. M.44, 130

MS. M.333, 22-25, 30, 60, 86
MS. M.346a, 236, 244
MS. M.453, 268, 288
MS. M.641, 30
MS. M.729, 168, 198, 201
tabernacle, 192

New York, Mr. and Mrs. Germain
Seligman Collection, 262
New York, Wildenstein Foundation,
Inc., 300

Nicholas of Verdun, 126, 130,134,

1 50,360

Night of Golgotha, 270
Nijmegen (Guelderland), 379
Nikolaus Gerhaert von Leyden,

134, 294

Nordenfalk, Carl, 34, 198, 266
Normandy, 30, 142, 178, 240
Northeast France, 3, 22, 26, 36, 86,

88 , 90, 146, 172, 306
Notre-Dame de Grasse, 190

Notre-Dame-en-Vaux,
Chalons-sur-Marne, 98
Noyon, 144

Noyon Missal leaf, 144, 146, 360
Odbert, 26

Officium, 224, 226, 373
Ogier le Danois, 84
Old Testament King, 74
Oman, Charles, 250, 328
order of Saint Michel, 310
organ, 170

Orleans, Musee historique, 312, 330
Ostoia, Vera K., 5, 74
Ottoman art, 100
Ottoman influence, 3
Ottoman manuscripts, 28, 50
Ourscamp, 146,162, 248

Pacht, Otto, 22, 242, 266, 268, 373
Palace School of Charles the Bald, 16
Pamplona, Cathedral, base of a large
reliquary cross, 192
Panofsky, Erwin, 198, 201, 220, 242,
266, 274, 284, 288, 379
Paris, 124, 174, 192, 194, 196, 198,
202 , 204, 206, 208, 212, 214, 220,
222 , 226, 234, 236, 260, 264, 266,
268, 274, 276, 278, 280, 284, 288,
290

Paris, Bibliotheque Arsenal, MS. 1184:
Gospels of Afflighem, 356
Hours from Rohan atelier, 284
no. 5066, 337

Paris, Bibliotheque Mazarine,

MS. 341, 357
MS. 469, 280

Paris, Bibliotheque Nationale,

Cabinet des Medailles, Sardonyx
Nef, 70

MS. fr. 414: Jacques de Varazze's
Golden Legend, 379
Ms. fr. 926: Recueil de traites
didactiques, 266

MS. fr. 2091: Life of Saint Denis,
201

MS. fr. 9561: Bible historee,

282,368

MS.fr. 12091: Psalter, 244
MS. fr. 13091,232, 236, 254
MS. fr. 19093,144, 164
MS. lat. 848, 373
MS. lat. 919: Grandes Heures du
due de Berry, 266
MS. lat. 8886: Missal and
Pontifical, 260

MS. Iat. 9438, 5, 50,104,105,

108,170

MS. lat. 9471,1,282, 379

391

MS. lat. 10483: Belleville
Breviary', 196, 198, 368
MS. lat. 11935: Bible of Robert
de Billyng, 198
MS. lat. 17294, 372, 381
MS. lat. 17318, 144
MS. lat. 18014: Petites Heures of
John, Duke of Berry, 222, 379
MS. nouv. acq. lat. 1390, 40
MS. nouv. acq. lat. 2246, 34
Paris, Bibliothcque Ste. Genevieve,
MS. 1278, 284

Paris, Cathedral of Notre-Dame,

2, 90, 138, 144, 300
Judgment Portal, 6, 7, 124, 126,
134, 146, 150

Portal of Saint Anne, 5, 94
trumeau Virgin at north transept
portal, 180, 182
Paris, Chartreuse, 234
Paris, Chateau of Vauvert, 374
Paris, Depot des Monuments
historiques, 136

Paris, Martin Le Roy collection,

130, 174, 186

Paris, Musee des arts decoratifs,

Angel of the Annunciation, 180
tapestry, 382

Paris, Musee dcs Gobelins, Concert
tapestry, 324

Paris, Musee des Gobelins et Salles
dispositions, 342
Paris, Musee Jacquemart-Andre,

MS. 2,1,274, 276, 371
Paris, Musee du Louvre, 1, 2, 3, 126,
130, 136, 140, 150, 194, 210, 266
altar angels, 186

Altarcloth of Narbonne, 222, 236
Cabinet des Dessins, 236
Ciborium from the Abbey of
Montmajour, 114, 116
Eleanor Vase, 70

ivory' Virgin from Sainte-Chapelle,
182, 184, 188

Martyrdom of Saint-Denis by
Jean Malouel and Henri
Bellechose, 378
relief of Saint George and the
Dragon by Michel Colombe, 332
Retable from Sainte-Chapelle, 234
Sardonyx Ewer, 70
silver-gilt Virgin of Jeanne
d’Evreux, 184, 192, 212
trinity tondo by Jean Malouel,
371,378

Virgin and Child of Olivet, 332
Paris, Musee National des Thermes
ct de l’Hotel de Cluny, 104, 105,
130, 222, 236, 244
Ariadne ivory, 54

Courtly Life Tapestries, 324
Depart for the Hunt Tapestry', 324
Life of Saint Stephen Tapestry, 324
Paris, Musee du Petit-Palais, 146,

150, 162

Paris, Sainte-Chapelle, 182
apostle sculptures. 180, 366
rctable, 234
stained glass, 156
treasury', 182

treasury' (formerly). Bust reliquary'
of Saint Louis, 174

Paris, son of King Priam of Troy, 320
Passion, 1 56, 214, 238, 246
Pen and brown ink and ink wash on
paper, 314
pendant, 322
Pentecost, 14, 246
Penzer, N.M., 250
Pepin de Huy, Jean, 370
Perceval, 208

Perrecy-les-Forges, tympanum, 36
Perrier, Jean, 102
Perscpolis, 84
Petrarch’s Trionfi, 336
Philadelphia, John G. Johnson
Collection, 306

Philadelphia Museum of Art, 1,10,
142

Philibert de Savoie, 304
Philip the Bold, 3, 4, 222, 234, 242,
252,254,256, 294,310
Philip IV, 218
Philippe d’Artois, 196
Philippe le Bel, 368
Philippe le Hardi, see: Philip the
Bold

Physiologus at Bern, 18
Pierre de Beaujeu, 322
Pierre de Navarre (d. 1412), 374
Pierre de Rohan (d. 1513), 342
Pieta, 306

Pieta Madonna, 284
Plague at Rome, 379
Plancher, Dom, 74
Play of Daniel, 66
Poitiers, 2

Church of Saint Hilaire,
choir, 28

Musee des Beaux-Arts, 133
Musees municipaux, 28, 46
Poitou, 28

Pol, Jean, and Herman de Limbourg,
270

Pontigny, 60, 92
Pontius, Abbot of Cluny
(1109-1122),62
Pope Clement IV (d. 1268), 164
Pope Hadrian IV, 58
Pope Innocent III, 126

Porcher, Jean, 9, 32, 40, 42, 50, 92,
224, 264, 280, 282, 373
Portable Altar of Saint Foy at
Conques, 38, 46

Portal of Saint Anne, Notre-Dame,
Paris, 94

Portal of Saint John at Sens, 118
Porter, A. Kingsley, 54, 58
Porte de Miegeville, the portal of
the south transept of the church of
Saint Sernin at Toulouse, 54
Prache-Paillard, Anne, 98
Pradel, Pierre, xi, xii, 6, 102, 304
Presentation, 202, 264
Pressouyre, Leon, 5, 98
Preuilly-sur-Claise, Collegiale of
Saint Meleine, capitals, 10
Prevost, Jean, 262, 322, 330, 334
Prier, Toussaint, Canon of Tournai
Cathedral (d. 1437), 378, 3S2
Priest (?) purifying altar, 364
Princeton University, The Art
Museum, 186

Princeton University Library, 284
Prophet, 2, 118, 128, 134, 232, 254
Prophet Jeremiah, 136
Provence, 58,120

Providence, Museum of Art, Rhode
Island School of Design, 7, 60, 62
Psalter, 4, 40, 168, 170, 172, 196,

198, 201,254, 365
Psalter at Boulogne, 22
Psalter and Hours of Yolande of
Soissons, 168, 198, 201
Psalter of Queen Ingeborg, see:
Chantilly

pseudo-Bonaventura, 3, 264, 368
pseudo-Byzantine style, 126, 1 30
Pucellc, Jean, 192. 196, 198, 214, 220,
222, 236, 250, 274, 381
Puerta de las Platerias at Santiago de
Compostela, 54

Queen Medusa Enthroned, 302
Quoniam, Pierre, xii

"Rabula” Gospels, 50
Randall, Mr. and Mrs. L. V., see:
Montreal

Randall, Lilian M. C., 170, 198, 365
Randall, Richard H., xii, 366
Raoul de Presles, 276
Rashdall, Hastings, 92
Ratisbon, 50
Regensburg, 22
Regnault, Guillaume, 332
Reichenau, 22, 50
Reims, 2, 3, 16, 18, 138, 206
Cathedral, 86

Angels, 180, 186, 210
Portal of Saint-Sixte, 138
Treasury, Chalice of St. Remi,
174

Depot lapidaire de la Cathedrale,
138

Rejection of Joachim’s Sacrifice, 288
relic cult, 160

Reliquaries of Saint Columbe, 28
Renaissance, 341, 344
Resurrection, 172, 192, 199, 222
Rey, Raymond, 160
Rheinach, Solomon, 371
Rhetoriqueurs, 336
Richard, the Lion Hearted, 104
Risen Christ, 364
Robert of Geneva, the antipope
Clement VII (d. 1394), 373
rock crystal crosier head, 154, 176
Rodez, Cathedral, Vigouroux Chapel,
Annunciation Group, 316
Rogers, Meyric R., 294
Rogier de Gaigni£res (1642-1715),
374

Rohan atelier, 282
Rohan Hours, 282, 284
Rohan Master, 3, 4, 224, 268, 282,
2S4

Rolin, Chancellor, 6, 298
Roman de la Rose, 206, 320
Romance of Huon de Bourdeaux,

206

Rome, 54,164

Basilica of Saint Peter, 126
San Paolo Fuori, Bible of San
Callisto, 16
Roquepertus, 84
Rorimer, James J., xii, 6, 10, 94,

190, 367

Ross, Marvin C., 5, 72, 312
Rossano, Cathedral Treasury,
Gospels, 50

Rouen, 30, 178, 248, 290
Cathedral, Jube, 248
Cathedral Treasury', Chasse of
Saint-Romain, 170
Mus6e Le-Secq-des-Tournelles,

248

Musee des Antiques de la
Seine-Inferieure, 1, 2, 188, 248,
290

Treasury of the Cathedral of
Notre-Dame, 178
Rouergue, 38
Rouvres-en-Plains, 258
Royal Abbey of Saint-Denis, 72, 256
Royal Portal at Chartres, 94
Royaumont, gisants of Blanche and
Jean de France, 162

392

Royaumont, Tomb of Saint Louis
(d.1270), 202
Rupert of Deutz, 68

Sacramentary, 4, 5, 30, 50, 88, 90,
104, 105, 108, 170
Sacramentary of Saint Etienne at
Limoges, 104, 105
Saint Aignan-sur-Cher, 5, 352
Saint Amand, 32, 88
Saint Andrew, 120
Saint Anne, 262, 322
Saint Anthony, 270, 298
Saint Augustine, 276
Saint Babolin, 36
Saint Baudime, 110
Saint Benigne, 2, 5, 6, 76, 294
Saint-Benoit-sur-Loire, marble
Virgin and Child, 370
Saint Bernard of Clairvaux, 60, 92
Saint-Bertin, 22, 36
cross, 96, 356

Saint Bishop with a Donor from
Toulouse, panel painting in the
Cleveland Museum, 373
Saint Bonnet-Avalouze, 46
Saint Bruno, 270
Saint Catherine, 270, 274
Saint Christopher, 2, 190, 228, 294,
296

Saint Christopher, from Saint Louis
Museum, 304

Saint-Denis, 2, 5, 6, 70, 72, 78, 80,

94, 162, 357, 371
cloister of, 74
facade of Royal Abbey, 72
Great Cross of Abbot Suger, 108,
254, 356,357

Head from Walters Art Gallery, 76
"Porte des Valois/’98,118, 357
tomb sculptures, 210
Treasury of the Royal Abbey, 70
Ste. Colombe-les-Sens, 92
Saint Eloi, 3, 6, 324, 336, 342
tapestry', 336, 342
Saint Etienne de Muret, 104, 150
Saint Fiacre, 324
Saint Foy, 46
Saint George, 142
Saint-Germain-des-Pr£s, 98
Saint-Gilles, Abbey Church, 120
Church of Saint Martin, 120
Musee de la maison romane, 120
Saint Gondulphe, Chasse, 96
Saint Gregory’s Moralia in Job, 60
Saint-Guilhem-le-D£sert, a
comparison, 120
Saint Henry', 6, 32
Saint-Jean-au-Marche, Church,
Visitation group sculpture, 328

Saint-Jean-d’Aulps, eglise
paroissiale, 5, 318
Saint Jerome, 170, 270
Saint John the Baptist, 242, 270
Saint John the Evangelist, 120, 156,
296

Saint-Julicn-aux-Bois. Chapel of
Saint Pierre-es-Liens, 96, 100
Saint Lazare at Autun, 64, 352
Saint Louis, 174, 199, 202, 322, 374
Saint Louis (Missouri), City Art
Museum, 2, 294, 296, 304
Saint Luke, 2, 34
Saint Loup, 28
Saint Margaret, 316
Saint Martial, 1 50
Saint Martin at Vic, frescoes, 116
Saint Mary' Magdalen in the Musee
des Augustins in Toulouse, 316
Saint Michael, 1 54, 290
Saint Nectaire, Reliquary' Bust of Saint
Baudime, 110
Saint Omer, 22, 26, 36, 60

Benedictine Abbey of Saint-Bertin,
5, 22

manuscript, 116
Musee Hotel Sandelin, 26
Musee municipal, 5, 96, 98, 108,
320,376

Saint Paul, 120, 148, 156, 160,

270, 367

Saint-Pavace, eglise, 326
Angel Reliquary, 328
Saint Peter, 60, 62, 105, 114, 152,
160, 322

Saint Pierre de Lisieux, sarcophagus,
118

Saint Pulcherie, 152
Saint Romain, 178
Saint-Ruf of Avignon, 58
Saint "Savinien," 156
Saint-Savin-sur-Gartemp, frescoes,

116

Saint Sernin, Toulouse, 54
Saint Stephen, 108, 156
Saint-Sulpice-les-Feuilles, eglise, 110
Saint Theodore, 142
Saint Thomas Becket, 92, 116
Saint-Trophime, Arles, 68, 120
Saint Veranus, Bishop of Cavaillon,
300

Sainte-Felicule, 5, 318
Saisselin, Rcmy G., xii, 336
Salet, Francis, xii
Salisbury Breviary, 381
Salzburg, 50
Samson, 58
Sandoz, M., 28

Saragossa, Cathedral of La Sec,
tapestry, 266

Saudemont, altar angels, 186
Sauerlander, Willibald, 5, 76, 98,
118, 124, 142, 357
Saul, 108

Scene of a Romance, 382
Schapiro, Meyer, 30, 56
Schiedlausky, Gunther, 250
Schilling, Rosy, 378
Schnitzler, Hermann, 14
Seattle Art Museum, 206
Seligman, Germain, see: New York
Sen 1 is, 2,90, 128,357

Cathedral, 98, 118, 128, 156
Church of Saint Rieul, 128
Musee de Haubcrgier, 128
Sens, 46, 142, 156, 357

Depot des Monuments historiques,
156

Shakespeare, William, 256
Shepherd, Dorothy, 6, 336, 342
Ship of Fools, 320
Siege of the Castle of Love, 206, 208
Sienese painting, 201,242, 266
Sign of the Lion and the Ram, 2, 6,
54, 112

Signs of the Zodiac, 168
Silver cross, Metropolitan Museum
of Art, 82
silverpoint, 308

Simeonsreliquiar at Aachen, 192
Sluter, Claus, 4, 238, 250, 254, 256,
258, 294,310,322, 367,370
Smith, Molly Teasdale, 222
Soissons, 140, 344
Cathedral, 140

Cathedra l e Saint-Gervaise-et-Saint-
Protais, 344
SoltykofF, 100
Souchal, Francois, 318
Souchal, Genevieve F., 104, 105,150
Souillac, 118

trumeau sculpture of Isaiah, 42,

381

Soulac, 6S
Souvigny, 310

Souvigny, Tombs of Charles I of
Bourbon and Agnes of
Burgundy, 310
Spain, 6, 7, 162

Compostella, S. Pelayo, 250
Huesca convent of Santa Clara, 162
Spanish textiles, 28
Spencer collection, 266, 302
Spencer, Eleanor P., 302, 381
Spencer Officium, 224, 226
Spitzer, Frederick, Collection, xi,

105, 150
Sponsus play, 56

stained glass, 136, 156, 232, 254, 262
panels showing prophets at
Bourges, 254
Stechow, Wolfgang, 242
Steingrdber, Erich, 368
Sterling, Charles, 238, 308, 374
Stoclet, Adolphe, collection, gilt-
bronze crucifix, 82
stone prophets, 254
Strasbourg, 2, 134, 136,144
Cathedral, 134, 138,158
Musee de l’Oeuvre Notre-Dame,
134, 138

Saint-Pierre-le-Jeune, 158
StroganoflF, 152
Suckling Christ Child, 188
Suger, Abbot, 70, 72, 357
Swarzenski, Georg, 133
Swarzenski, Hanns, 16, 26, 42, 86,
100, 158, 356
Synagogia, 134, 144
Salle capirulaire of Saint-Georges de
Boscherville, 90

Table Fountain, xi, 250, 376
tapestry', 2, 3, 6, 8, 266, 298, 324,
336-9, 342, 378, 382
Taralon, Jean, 178
textiles, Iranian, 28
textiles, Spanish, 28
The Hague, see: Hague
Thibaut III, Count of Champagne,

Thibault V de Champagne, 202
Thoby, Paul, 100, 105
Thomas, Marcel, xii
Thompson, Henry' Yates, 172
Three Mary’S at the Empty Tomb,

14, 172
Time, 336

Tissendier, Jean, Bishop of Rieux
(1324-1348),190,228
Toledo Museum of Art, 214, 246,

328

Tomb of John, Duke of Berry' in the
Sainte-Chapelle at Bourges, 304
Tomb of John the Fearless, Duke of
Burgundy, 304

Tomb of Francois II of Brittany and
Marguerite de Foix, 326
Tomb of the Heart of Thibault V de
Champagne (d. 1270), from the
Dominican Church at Provins, 202
Tomb of Philibert de Savoie, 304
Tomb of Philip the Bold, Duke of
Burgundy, 256

Tomb of Saint Louis (d. 1270), from
the Abbey of Royaumont, 202
Tonnere, Hospital, sculpture of the
Holy Sepulcher, 294

393

Toulouse, 2, 7, 54, 56, 112, 190, 228
Abbey of La Daurade, 112
Chapel of Rieux, see Toulouse,
Church of the Cordeliers
Church of the Cordeliers, Chapel
of Rieux, 190, 228, 367
Virgin, 316

Church of Notre-Dame de la
Daurade, 58, 68, 160
Church of Taur, 190
Cloister of the Cathedral of
Saint Etienne, 56

Convent of the Grands-Carmes, 367
Dominican Church of the Jacobins,
224

manuscript, 116

Musee des Augustins, 2, 6, 54,

56,112

Notre-Dame de Grasse, 190
Saint Mary Magdalen, 316
Saint Sernin, 54,160
Touraine, 296, 300, 308, 332
Tournai, Cathedral, 382

Treasury of the Cathedral, Chasse
of Notre-Dame, 174
Tours, Bibliotheque municipale,

MS. 558: Gratian Decretals, 196
Translucent enamel, 6,174, 192,

250,252

Treaty of Bretigny, 218
Tree of Life, 56, 96,100,164

Tres Riches Heures, see: Chantilly
Trial of Jesus, }>16
Trier, 22

Trinity, 196, 236, 262
Tristan and Iseult, 208
Trojan War, 320
Troyes, 96

Church of Saint Mary Magdalen,
Saint Martha sculpture, 328
Convent of the Ursulines, 328
Hotel-Dieu, Virgin and Child
sculpture, 328
Psalter, 42

Tresor de la Cath6drale, 18, 42,

64, 96

MS. 12: Psalter, 3,254
trumeau figures, 212
trumpet, 170

unicorn, 208

Utrecht, University Library, Cod.32:
Psalter, 16, 18, 22, 30

Valentiner, William R., 258
Valley of the Loire, see: Loire Valley
Valley of the Meuse, see: Mosan
Valois, 242
van Luttervelt, R., 242
Vanuxem, Jacques, 90
Vatican Library, MS. Gr. 699, 46
Venice, Treasury of Saint Mark’s, 70
Verdier, Philippe, 246, 252, 258
Verdun, Mus£e de la Princerie, 6, 32
Verlet, Pierre, xii

Vezelay, 2, 66, 352

Musee lapidaire de l’eglise de la
Madeleine, Capital, 66
Viane family, 172
Vierge-Custode, 150
Vierge doree, 182, 184, 194
Vienna, Kunsthistorisches Museum,
four-part folding enamel altarpiece,
192

Vigils of the Dead, 274
Vigouroux Chapel in the Cathedral
of Rodez, 316

Villard d’Honnecourt, 144, 146,

164, 340

Villy-le-Marechal, Church, Virgin
and Child sculpture, 328
Viollet-le-Duc, 94

Virgin and Child sculptures, regional
groupings, 370

Virgin from the Cottreau collection,
230

Virtues and Vices, 288
Visconti, 218
Visitation, 202, 280, 385
Vitry, Paul, 180
Voge, Wilhelm, 112, 118

Walker, John, xii

walrus ivory, 5, 26

Walters, Henry, 86

Walters’ Sacramentary, 88, 90, 104

Washington, D. C., National Gallery
of Art, Chalice of Abbot Suger of
Saint-Denis, 2, 70
painting by Master of Saint Giles,
124

Weinberger, Martin, 6, 142, 310
Well of Moses, 250, 254, 256, 258,
376

Wentzel, Hans, 322
Werve, Claus de, 256
Wescher, Paul, 300
Wildenstein Foundation, Inc., see:

New York
Winchester, 22, 92
Winged Stags, tapestry, 290
Winkler, Friedrich, 242, 379
Wise and Foolish Virgins, 56
Worcester Art Museum, 353

Yolande of Anjou, 282, 379
Yolande of Aragon, see: Yolande
of Anjou

Yolande, Vicomtesse of Soissons,

168

Youth, 336
Ypres, 242, 274

Zarephath, 96

Zarnecki, George, 64, 352

Zebo da Firenze, 264, 268, 288, 379

394

PHOTOGRAPH CREDITS

Helene Adant (Paris)

III—35

Ghislain Arens (Cluny)

III—9

Arts et Metiers Graphiques (Paris)

IH-3,7; VI-33

Belzeaux-Zodiaque (La Pierre-qui-vire)

III—1,3; II—10

Bildarchiv Foto Marburg
111-4,34

Robert Boulhaut (Verdun)

II—6

Barney Burstein (Boston)

VI-31,34

Caisse Nationale des Monuments Historiques (Paris)

I— 2; II—8; III—11,16,26,33,38; IV-10,11,12,18,21,23,
24,25; V—5,8; VI-9,13,36; VII-3,13,16,17,27

J. Delherce (Saint-Omer)

II— 2; VII—14

Durante (Tulle)

III— 28

Ellebe (Rouen)

V— 10; VI-17
J. Evers (Angers)

III—19
Franceschi

III— 29

Giraudon (Paris)

IV- 3,16; V—5,7; VI-5,11,29,36; VII-26
A. Kilbertus (Montreal)

II— 7

Raymond Laniepce (Paris)

I- 4; II—6; 111-2,30,37; IV-15,19,21
Serge Martin (Orleans)

VII-10

Studio de Nussac (Gueret)

III— 32

Service de Documentation Photographique des Musees
Nationaux (Versailles)

II- 4; 111-17,23; IV-2,12; V-21
Editions d’Art Albert Skira (Geneva)

VI- 26

Emanuel Sougez (Paris)

III - 5,20

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